A Love You Cannot Shake is the second album by Fashion Club and opens with an unusual synth sound that is difficult to identify. Pascal Stevenson, the artist behind Fashion Club, reveals that the synth is actually a manipulated kick drum, altered and looped using Ableton. The album is full of such distinct sounds, where every track has elements that are warped and unique. Even the softer songs contain adjusted vocal samples that add to the experimental nature of the music.
This may sound like music that’s hard to connect with, but the masterful production transforms it into a grand art-rock experience akin to the works of Perfume Genius and Torres. When asked if she sees the album as pop, Stevenson reflects on its broader appeal, saying, “…I don’t think the record has [mainstream appeal], but I definitely love hooks.” The structures of the songs may be offbeat and dynamic, but they often revolve around simple, repetitive chord progressions.
Stevenson took on the entire production and mixing process herself, a continuation of her approach from her debut album, Scrutiny. While Scrutiny was well-received, A Love You Cannot Shake represents significant growth. This complex album showcases what artists often create after gaining confidence over years, and it’s her second release. Stevenson isn’t new to music; as a teenager, she attended underground shows at the Smell in Los Angeles and explored circuit bending and guitar pedals. She later pursued music technology at CalArts and played in the band Moaning while continuing to develop new electronic demos.
Her journey towards sobriety was key in creating Scrutiny, tackling tough issues including inauthentic activism and personal struggles with substance use. This debut album, though strong, didn’t entirely reflect the music she wanted to create. “When I was making Scrutiny, I aimed for something that resonated emotionally and would meet expectations,” she explains, influenced by darker tones of The Cure and Brian Eno during a time when she was still in the closet, often perceived as a male in the post-punk scene.
In the time leading up to the creation of A Love You Cannot Shake, Stevenson found the courage to come out. This freedom deeply influences her latest album, which explores themes beyond mere coming out; it addresses the complexities that arise afterward. There’s an openness and vulnerability in her work now that contrasts with the more guarded tones in Scrutiny. Tracks like “Enough” and “Faith” grapple with gender transition, illustrating the struggle of self-acceptance amid doubts and societal pressures.
After the initial thrill of coming out fades, one still faces the challenges of a capitalist world that often overlooks individuality. The song “Confusion” reflects this struggle with its upbeat tempo and explores feelings of burnout and frustration. Inspired by the sounds of trip-hop icons like Portishead, “Confusion” marks a shift towards a more traditional band setup while still utilizing Stevenson’s signature production style.
The layered composition of the tracks may take time for the audience to fully appreciate, but the emotional core is clearer this time around. Stevenson embraced diverse influences from artists like Kate Bush and Sade, leading to a more cohesive representation of her musical taste. A shared playlist with Stereogum features a variety of inspirations, including Fennesz, Charli XCX, Janet Jackson, and Deftones. Stevenson remarks that any element in her songs is a reflection of specific moments in those inspirations, which can be traced back through her own music, creating a striking cohesion in sound.
Though Stevenson manages most of the instrumentation, she also collaborates with well-known indie musicians like Mike Hadreas, Jay Som, and Julie Byrne to enhance her tracks. She emphasizes the importance of collaboration, stating, “I have a producer brain first and foremost,” allowing for contributions that broaden the artistic scope of the album. Her connections with fellow artists ease the process, as they provide valuable perspectives that challenge her views as a sole creator.
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“If the combination seems unusual, it turned out to be a great experience.”
Stevenson recently wrapped up a tour with Protomartyr, a pairing that may appear unexpected. However, Protomartyr also embraces the diverse musical exploration that Stevenson enjoys with Fashion Club. She appreciates the way Joe Casey’s energetic shout-singing creates memorable hooks: “His style is fascinating; even at higher tempos with hardcore influences, the melodies remain vibrant… Experiencing these songs live has opened my eyes to their hidden beauty.” Her current playlist includes Eiko Ishibashi’s Evil Does Not Exist soundtrack and 2000s hits produced by Timbaland, such as Missy Elliott’s This Is Not A Test! and Nelly Furtado’s Loose.
With her recent album complete, Stevenson is eager to create music for other artists. She co-produced and mixed “Many Ways” by Clarity featuring Clairo for an upcoming compilation featuring Sade, a significant influence on her work. Stevenson sees A Love You Cannot Shake as a demonstration of her skills as a producer and engineer: “This record was essential for addressing personal struggles. It’s a testament that grand production can coexist with genuine emotion.”
Notably, women in production, particularly women of color and trans women of color, represent a minuscule fraction of the industry. Stevenson’s contributions are not only impactful but also vital given this context. In “Ice Age,” a powerful moment showcases Stevenson alone with her guitar, marking a deviation from the polished production typical of A Love You Cannot Shake. When asked if that segment originated from an earlier demo, she grins and replies, “That wouldn’t be entirely truthful. But I did want it to convey that feeling!”
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