“This song is riffing on the idea of privilege in today’s world, how those who have it generally feel they deserve it. The flip side of this idea, of course, is those without it also deserve to be without it. This basic idea, most often unspoken, underpins so much of the world today and it is a total fallacy. If you’re rich, sure, you probably work hard blabbety-blah but it’s mostly a matter of blind luck, being born into the right context. And sometimes I think if we humans were a little more grateful, gave a few more nods toward this luck, we’d be more generous, more gracious to other human beings. That sense of entitlement that scum-bags like Trump exude, is a cancer in this world. Plain and simple.” – Nate Lawr on “Blind Luck”
Nathan Lawr is no stranger to the eclectic; from his work with dub/punk/electronic band King Cobb Steelie in the late ’90s, with whom he toured when he was just out of high school, to being a pivotal player in the explosion of Canadian music in the early 2000s as a key member of Royal City as well as his time with the Constantines, Jim Guthrie and FemBots.
Minotaurs latest effort, Weird Waves, is self-described as “apocalyptic-psychedelic afro-folk epic” and draws from disparate influences including psychedelic soul legend Curtis Mayfield, German mind-expanders Neu, and the sonic fuckery of Sun Araw (not to be confused with interstellar electronic jazz pioneer Sun Ra, though he’s undoubtedly in the mix somewhere as well). Weird Waves was constructed from studio jams with his killer live band, and then tinkered with at home, where Lawr added keyboard, drones and random sounds. “That way, I can just follow my instincts and not explain anything to anybody. It can be slightly peculiar: things entering and leaving at odd times. That’s really interesting to me as a listener. There’s a lot more room, it’s more relaxed.”
Weird Waves comes out March 11th.