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Sarah and the Safe Word

Popular

  1. 1.
    You're All Scotch, No Soda
    2:520:30
  2. 2.
    Sick On Seventh Street
    3:030:30
  3. 3.
    The Last Great Sweetheart of the Grand Electric Rodeo
    3:070:30
  4. 4.
    Bottom of a Bender
    3:120:30
  5. 5.
    Formula 666
    3:360:30
Sarah and the Safe Word exists in two worlds, each a century apart. The first is set behind a haze of cigarette smoke in a speakeasy’s back room, where daring storytelling of swashbucklers and a hot rod-racing demon only complements an already theatrical stage show.
The second is the basement world of sweat-soaked punk shows and a collectivist mindset, encouraging free expression, sexual liberation, and community without boundaries. This Atlanta seven-piece attempts to bridge the gap between these two seedy underbellies, updating each in the process with a full-bodied take on well-worn sounds and a steadfast commitment to using their platform to uplift queer voices.
"Good Gracious. Bad People!" is the briskly recorded, breathlessly ambitious follow-up to last year's "Red Hot & Holy." Sarah and the Safe Word's anachronistic approach to songwriting, like soaking Prohibition-era attitudes in scotch and soda, may come as a system shock. "Bottom of a Bender" features space-age synths and a guitar solo performed by an electric power drill. "A Celebration—With a Vengeance?!" bursts open a cabaret scene with a thunderous sax solo. "When Oskar Fische Comes to Town” is a song so indebted to organic strings and piano chords that it could be retrofitted for ragtime hour. Such erratic time-traveling isn't for the faint of heart. Let these Georgians introduce you to a few characters. They've got character themselves.

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