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FAT TROUT TRAILER PARK (Sean Raab) condemns Government-sanctioned capitalist greed on "Dirty Hands", the fourth single from the self-titled countercultural EP due October 28. Picking up the narrative thread from previous releases "Gold" and "Fatberg", Raab barely conceals his contempt for the billionaire class, pairing incisive social critique with a brutalist approach to production. This blistering visit into the toxic psyche of a sociopathic, college-educated high roller is momentarily interrupted by an eerie fairground sound before "Dirty Hands" returns to Wall Street with a cocaine and champagne hangover.

FAT TROUT TRAILER PARK is a post-punk interpretation of how people in the future would think the past sounds like.


That's what you get when you combine the bare-boned, riff-heavy structure of early-2000s rock and roll and filter it through the kaleidoscopic lens of the 2010s psych revival, and the cut-and-paste approach and visceral impact of experimental electronica and hip-hop.

The forthcoming FAT TROUT TRAILER PARK EP takes influences as diverse as Tame Impala and Death Grips and twists them into an anarchic brawl, sparing few establishment institutions in its incisive critique of modern society.


Economic and environmental violence are both a looming presence on debut single "Fatberg", the initially restrained, then untamed "Gold" and the Television-indebted "Dirty Hands". "Backseat" spirals into the hedonism that follows a episode of depression, a phenomenon recalled on the EP's final track "Wendigo", which swerves through a Jekyll & Hyde narrative that explores bipolarity and the cocktail of disbelief, guilt, regret and relief that follows a bout of mania. 


"Salt", the record's sonic outlier, dives even deeper into personal history before resolving to address the FAT TROUT TRAILER PARK EP's overarching theme: 21st century disillusionment. 

Reflecting on his conservative religious upbringing in Belgium, Raab cuts a figure wracked with insecurity and fear, as an ASMR-esque vocal pits viciously competing internal voices against one another.  

As a collection, these six tracks introduce a self-produced musical polymath and his contribution to the resurgence and re-politicization of guitar-driven music. 


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