Alex Cameron

Forced Witness (Secretly Canadian)

Contact Jessica Linker about Alex Cameron

Bearing witness to the baroque clusterf*ckery of the world is no longer voluntary. We are all forced to watch. Every possible catastrophe vibrates in our pockets, demanding to be witnessed. In his second album, Forced Witness, out September 8th on Secretly Canadian, Alex Cameron’s solution to the difficulties we face is a danceable and dangerous earnestness, a sense of honesty that heals and relieves even as it cleaves us or makes us laugh in self-defense. He’s offering us vivid portraits of misfits who look at the world without illusion.

 

 

Recorded in Berlin, Los Angeles, and Las Vegas and produced by Cameron along withFoxygen’s Jonathan Rado, these tracks at first seem shamelessly entertaining, the driving rhythms and rousing melodies embellished at every turn by Roy Molloy’s warm hornwork. But the love songs and anthems of personal resilience contain as much raw humanity as they do a savvy grasp of the impossible loneliness of the times, especially apparent in the song, “Stranger’s Kiss” — Cameron’s affecting duet with Angel Olsen (who also sings backup on lead single, “Candy May”).  The defiantly bloody knuckles in “Runnin’ Outta Luck,” co-written by and featuring Brandon Flowers, and the grime of wet dreams in “Country Figs”occupy the same space as the great sadness of the internet in the catchy and contemplative song “True Lies,” in which Cameron sings about that buzzing hive of randomized sexuality where we can either submit to the stirrings in our own laps or let our fragile hopes catfish us. Penultimate track “Marlon Brando,” is, as Cameron describes it, “a study of a man in the hopeless pursuit of a woman. He is a familiar character in the world, a self-assured jock, a dullard, a low grade human who uses a specific kind of language when he finds a situation outside of his control. The song’s lyrics present a damning indictment of homophobia and misogyny and their genesis in toxic masculinity.”

 

 

If there is darkness in these songs, it is not because taboos can titillate but because Cameron knows that confession has a redeeming power and that people are often at their most startlingly beautiful when their skies have fallen. These songs are alive with the rich detail of life lived and the radical distinctiveness of the stories they tell feel universal. In these chaotic times when we aren’t able to look away, Cameron is offering us a pure account of the world as he’s seen it.

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Tour

  •  
    Jan 05, 2018
    Toronto, ON
    Air Canada Centre

  •  
    Jan 06, 2018
    Laval, QC
    Place Bell

  •  
    Jan 07, 2018
    Boston, MA
    TD Garden

  •  
    Jan 09, 2018
    Brooklyn, NY
    Barclays Center

  •  
    Jan 10, 2018
    Washington, DC
    The Anthem

  •  
    Jan 12, 2018
    New York, NY
    Madison Square Garden

  •  
    Jan 13, 2018
    Philadelphia, PA
    Wells Fargo Center

  •  
    Jan 15, 2018
    Detroit, MI
    Masonic Temple Theatre

  •  
    Jan 16, 2018
    Chicago, IL
    United Center

  •  
    Jan 17, 2018
    St. Paul, MN
    Xcel Energy Center

  •  
    Jan 18, 2018
    Milwaukee, WI
    The Back Room at Colectivo

  •  
    Jan 21, 2018
    Duluth, GA
    Infinite Energy Center

  •  
    Jan 23, 2018
    Miami, FL
    American Airlines Arena

  •  
    Jan 24, 2018
    Orlando, FL
    Hard Rock Live

  •  
    Feb 23, 2018
    Los Angeles, CA
    Lodge Room

  •  
    Feb 27, 2018
    Vancouver, BC
    Fox Cabaret

  •  
    Feb 28, 2018
    Seattle, WA
    The Crocodile

  •  
    Mar 01, 2018
    Portland, OR
    Doug Fir Lounge

  •  
    Mar 02, 2018
    Boise, ID
    The Olympic

  •  
    Mar 03, 2018
    Salt Lake City, UT
    Urban Lounge

  •  
    Mar 05, 2018
    Denver, CO
    Globe Hall

  •  
    Mar 07, 2018
    Chicago, IL
    Lincoln Hall

  •  
    Mar 08, 2018
    Columbus, OH
    A&R Bar

  •  
    Mar 09, 2018
    Washington, DC
    Rock & Roll Hotel