Oreaganomics only has 129 monthly listeners on Spotify, but after listening to the Lincoln, Nebraska-based indie band’s short and sweet protest album And Introducing…shane!!! — a remarkable piece of work fusing jazz, rock, soul, reggae and R&B — one has to expect that number to shoot up any day now as more people discover this art-rock gem.
“It’s a protest album saying fuck you to the oligarchs,” the band says of its sophomore LP. “We tried paying companies to promote it, and they said it’s a beautiful album but too dangerous. So that’s why we’re here doing it ourselves.”
For being a “fuck you,” it’s actually quite lovely, pulling from a plethora of genres in an A+ neo-soul production that pays tribute to America’s deep musical roots from the jazz and big band era, loaded with smooth vocals reminiscent of Marvin Gaye and James Mercer. Every track feels distinct yet connected in purpose and style, so let’s dive into each one, all of which combine to create a pretty picture of a very problematic world the lyrics are dissecting.
“Everything Is Legal” is a smooth, groovy and hypnotic introduction to the album and band, as it is the lead single, and certainly destined to be an Oreaganomics fan favorite. Lyrically, it’s a yearning for freedom in an increasingly controlled and commodified world, full of forces pulling us down. But the refrain reminds us there is hope in ingenuity: “Everything is legal, so we gotta find our way.” The band says of the track, “If you’re connected, you can do anything. Same time crime doesn’t pay as well as lots of stuff has been legalized.”
“I May Not Miss This Time” is more of an interlude than a song, revolving around rampant wealth inequality plaguing the country. “Wealth is the dealer, poor buy due to hope,” the band says of the 64-second track, half of which is a vocal fade out. An intriguing choice and a strong statement that this band is not here to be another pop installation chasing likes and streams.
“Prism Scheme” packs a big-band sound while deriding an unfair global economy favoring the rich and powerful over the poor. “World economy is now a pyramid scheme due to people not having kids,” the band says of the track, which seems to suggest something along the lines that living well is the best revenge against the system keeping the majority of the population down. “This is your life, don’t get it twice, may as well have fun, as you won’t survive,” the vocalist sings. “It can’t be fixed, so get your kicks.”
“To the Gallows” speeds up a few decades, feeling more modern in sound but just as scathing in lyrical content. The band says the song takes issue with the fact that “many social norms are made to be unattainable and yet you’ll be judged for not following them.” Bass, bongos, fuzzy electric guitar and vocals lead the listener to be hung in the bliss of a soaring instrumental crescendo, guided by pleasant “Oooos!” to the next life.
“Looking at the Ceiling” feels like vintage soul from the depths of the ‘60s, bemoaning unrequited love with gusto. Despite the sore subject matter of the lyrics, it offers upbeat, good vibes on the musical side.
“Bought a Dud” is the second longest track on the album, though it doesn’t necessarily feel like it. Like the rest of the songs on the album, it seamlessly flows between musical convention and subversion, starting with an indie rock style reminiscent of The Shins before leaning on synths to lead out of the exploration of, as the band says, “Investing in a POS in hopes it’ll make life better.” How American.
“Open Is the Ban” is a harmony-fueled, horn-layered outcry over Big Tech’s domination of our lives and free market. It straddles the line between tragedy, melancholy and absurdity, with a beautiful, ironic melody guiding compelling lyrics, “Oh mercy, mercy / look what they’ve done / bet the sons of everyone / revolution will not stream at all / could of made a profit off it, they built a wall.” Apologies if my ear is off on any of those lyrics, but no matter what exactly is being sung here, it is immediately clear it is worth listening to, on repeat. In the band’s own words about the song: “Tech bros either want to own or ban ccompetition, even though they could profit off it.”
The album keeps getting more interesting with “Audacity,” a gentle acoustic bop complimented by a trumpet and another fine vocal performance crooning, “Audacity to do what they do, try it and you’ll end up dead or fooled.” Not exactly inspiring stuff, but then again, that seems to be the point. When asked about the track, the band says, “If you try to do shit powerful people do, you’ll end up dead or fooled.”
“Salt City Women Are Pretty” is a sultry serenade about, quite simply, hooking up. The title is the hook, but the art is in the delivery, arrangement and production. It’s delightfully retro, a piece of neo-soul that only lends to the album’s overall feel of a long lost vintage vinyl that was placed in a time capsule, buried under soil and forgotten about until now. Shane, we’re so glad we found you.
“Point of a Feather” ends the album with a party that, no doubt, would be quite an extravaganza to see performed live on stage. “Humans tend to be territorial,” the band says of the song that is funky, fresh and deserves to be danced to. “Point of a feather, birds stick together.” There’s probably some brilliant social commentary layered in the vocals here, but honestly, I’m too busy moving and grooving to care. And maybe that’s the point.
Listen on Spotify now:
Written by Greg Gilman, of Greg in Good Company
Interview by Ryan Cassata
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