Boy Harsher, “Morphine”

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Boy Harsher

A song title often dictates where an audience’s mind goes while listening, perhaps most effectively if, and when, it’s the name of a drug. But somewhat rarely do we find the title summoning the essence of its subject matter so powerfully, we are invited into the actual stupor. Such is the case for the dreamlike euphoria on Boy Harsher‘s “Morphine” from their forthcoming Yr Body is Nothing LP, out June 20 on DKA Records.

A minimalistic, yet perfectly programmed beat enters abruptly, almost awkward in its own sober state. The entrance of cool, retroactive synth tones lull its self-consciousness away and replace it with a dance floor. Jae Matthews breathes deep, effected whispers into the mic, her vocal intensity acting as the biggest variant in the song’s tone, alternating hushed cries with wailing agony. A neon daze is created with Gus Muller’s synth highs, as they come in pairs and reach back into memory for something lost. The electronics long for something unknown, intensifying as they transition more inline with the percussive side of things. But the aura surrounding each tone is soft, and comforting, and it’s not harsh at all. It’s sterile in its pulsations, yet somewhat dirty, like a doomed hospital room. It could probably go on forever, and that’d be fine. But the high must end, either in a treacherous comedown, or in treacherous death, as Matthews issues one last moan; “I’m in heaven, above,” and the track cuts out.