New York, NY (Top40 Charts) Alternative rock artist Russ Carrick today released "Never Great Enough", a scathing 'anti-anthem' for the Age of Trump. Employing his signature blend of power-pop, college rock, and alternative rock influences, the single takes direct aim at the misogyny, racism, and ignorance eagerly embraced by former President Trump and his political base. Carrick isn't afraid to call out what he sees as the ultimate root of Trumpism —namely, weakness— and offers solace for those who've held their heads high during a time when cruelty seemed to carry the day.
Kill the
Music premiered the new release, with Carrick sharing his inspiration behind the track. "Early on in the Trump Era I came across a video of this piece-of-shit bro circling an Asian-American woman over and over, spewing all this utterly unoriginal racist dreck at her before riding into the sunset," he said. "Like anyone with a mind, and a functioning sense of empathy, I was sick to my stomach. It made me think about what has been unleashed in the country since that toddler-psychopath came to dominate our collective headspace. And what I realized is that Trumpism is essentially a movement of resentful losers in their own mind. I then imagined how someone with such limited capacities for compassion and introspection probably had a wife that didn't want to sleep with them, and a son that was ultimately ashamed of them. So, I say to that asshole on the bike, I'm sure that there's a more secure person out there who can make your wife happy, and mentor your disillusioned son. That is what "Never Great Enough" is all about."
The political anthem grabs listeners in with a catchy hook, driving tempo and increasing layers of guitar, keyboards, and vocal urgency demanding a response. As the track repeats, "No, you can't get back what you never had," he reflects on the still shocking lack of empathy of the Trump era, made more apparent than ever in the last four years in the U.S. with blatant racism, misogyny, and ignorance, including hate crimes rising to their highest level in a decade. Carrick hopes his music sparks a light of empowerment and belief that change will come, with empathy prevailing.
"Never Great Enough" comes as the first single off Carrick's third studio album Beyond the Headlights' Reach, due out February 26, 2021. Confident in his polished combination of power pop, post-punk, college rock, and alternative rock roots, the album showcases Carrick's growth. Continuing to challenge himself both in his songwriting and sound, the album embraces a complementary string ensemble, and stretches to new horizons, even incorporating a sea shanty. It was recorded at Satellite Studios in Rhode Island, and mastered by Pete Humphries, of Masterwork Recording in Philadelphia.
"Never Great Enough" is out today on Bandcamp, with release on all other platforms soon.
Russ Carrick entered the music scene in 2013 with Mix Tape History, a hook-laden homage to the pared-down sounds of the post punk era. Unlike many of his self-releasing contemporaries, Carrick (with the backing of tape-trading local fans) took the step of bringing his garage creations into a professional studio. Doing so marked the beginning of his decade-long collaboration with Rhode Island music legend Emerson Torrey (of Schemers and Rain Dogs fame) and Philly's analog mastering wizard Pete Humphries. With the help of Torrey and Humphries, Carrick was able to deliver a polished professional sound that allowed for focus on his Leonard Cohen-flavored lyrics.
This was even more evident on his second release, Tense Present, an album which showcased Carrick's increased reliance on outside talent. In what would become something of a de facto band, Carrick and Torrey were joined on guitar by "mad genius" Quinn Waters, another Philly native; and New School drum virtuoso Josh Poole. Tense Present would go on to be one of MusicExistence's Top Alternative Rock Picks of 2017, and a nominee for one of LA
Music Critics bi-annual awards.
With his third album, Beyond the Headlights' Reach, Carrick casts an even wider net, calling up whichever talent best helps him realize his signature blend of power-pop and alternative rock. Adding to the usual ensemble of Waters, Torrey, and Poole; this time Carrick showcases the work of accomplished cellist Owen Graham, currently studying at the Royal College of
Music in London, and renowned Philly blues harmonica player "Wild Al" Berke. (Graham takes over sole musical duties on "Fog Over Monomoy," Carrick's ode to his ocean-soaked childhood; and Berke brings his blues harp chops to "Rule Prytania," Carrick's oft-promised love letter to his years in Pre-Katrina New Orleans.) Pete Humphries, of Masterwork Recording, is brought in once more to wrangle a distinct assortment of songs (which include everything from a string ensemble piece to a vocal-only sea shanty) into a cohesive thematic whole.
Russ continues to drop XTC's Andy Partridge name in conjunction with his music, though it is unclear whether this is merely in spirit, or in a more direct capacity. Either way, if there are music gods to which Russ burns offerings, it would surely be the British trio and their off-kilter skewering of suburbia.
