Next month, Busty and the Bass will release their newly announced album, Forever Never Cares, a record which sounds, at once, of a bygone era and completely modern. They recently shared lead single, “Give Me A Smile” ft. Son Little, and today they are sharing a new preview of the record, a track called “Never Get Enough“, led by the smokey vocals of ascendant soul singer Katie Tupper.
The sensual R&B single is an emphatic ballad about the conditional longing and desire for the one you love: ‘We got less time than you think we do / Forever ain’t long enough’ Katie’s sultry voice soars throughout the song, while building budding tension until the band swoops in with an anthemic coda.
“The words and vocal melodies came relatively quickly to me once I heard the track the guys had made,” says Tupper. “I knew I wanted a lot of vocal layers and harmonies to hold their own against the lush production that comes with a busty song. I wanted the lyrics to be classic and soulful and the idea of never getting enough of someone even if you could spend forever with them seemed right.”
“For me, I’m playing off of Katie’s theme of ‘forever ain’t long enough’,” says founding member Alistair Blu. “While her theme is referencing a lover who’s eternal presence isn’t enough, my lyrical themes relate to the broader concepts of eternity and forever-ness (hence where the album gets its name, Forever Never Cares) and the desire to let go of clinging and attachment.”
LISTEN
to “Never Get Enough”
HERE
MORE ABOUT FOREVER NEVER CARES
For the Canadian-American soul-jazz collective Busty and the Bass, collaboration has always been at the forefront of their music. Formed at McGill University in Montreal over a decade ago, the group is now scattered across four North America cities from coast to coast. Yet, with a collaborative spirit at the heart of their third studio album, Forever Never Cares, the members have never been more connected.
Over the years, the group has collaborated with legendary artists George Clinton, Macy Gray, Earth Wind & Fire, Slum Village, and exciting new voices like Polaris Music Prize winners Cadence Weapon and Pierre Kwenders. Most recently, the group dropped a mini-album with Philadelphia poet and rapper STS. Despite such a strong history of partnerships, Forever Never Cares reshaped the band’s creative formula and redefined how they worked together a decade into their career.
After a founding member and primary songwriter left the band in 2022, the collective used the opportunity to re-approach their creative process for the first time in years. Songs would be brought to the group from individual members or smaller formations of two or three members writing together. Interestingly, more voices involved in the songwriting resulted in the group’s most refined output to date.
Two previous studio albums, Uncommon Good (2017) and Eddie (2020), saw the band experiment with genres effortlessly changing styles song to song, from soul to funk to pop.
Forever Never Cares finds the collective both broadening and distilling their influences into a unified sound that is entirely their own. This is due in large part to founding member Christopher Vincent who engineered and mixed the album. Vincent found a sonic language that would compliment all of the disparate genres being stacked atop one another.
With soul and R&B as the album’s cornerstone, the record is sprinkled with cross-genre explorations. From the indie rock-inflected uptempo singles “All The Things I Couldn’t Say To You” and “Wandering Lies,” to slow-burn ballads like “Give Me A Smile” and “Never Get Enough,” to the celebratory pop-funk of “Starstruck” and “No Angels,” a touch of 70s singer-songwriter on “Smoke and the Pine” and “Holiday Drive,” and the psychedelic jazz explorations of “Far From Here” and “No Self Control” featuring saxophonist Terrace Martin, a frequent collaborator of Kamasi Washington and Robert Glasper.
Presave Forever Never Cares HERE
Keep your mind open,
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[Thanks to Hive Mind PR.]
