The newest single by Canadian, by way of South African artist, , is on the simpler side of EDM. Calvyn Cass is statuesque in appearance, with an impeccable physique and an unforgettable aesthetic. He blurs the line of gender identity, in a way that hasn’t been done since the 70’s or 80’s, with a modern ambience. The fact that there is so little known about Calvyn’s early life, is arguably paramount to the construction of his public persona. His mystique is seemingly a part of his magic.
The newest offering from Cass, is entitled “Enemy Number One.” It’s a love turns to war saga, that Calvyn delivers in such a way that makes sadness seem fabulous, until you almost entirely disregard the former. The singer is self-assured to the point of being vulnerable, which portrays his almost surreal image, with the perfect amount of complexity. Calvyn Cass is the type of performer that makes an immediate impression, and only expounds upon that over a gradual timeline. Even in an era of converging identities, he is poised to stand out.
“Enemy Number One,” evolves as a piece, the more you listen to it. Upon first hearing it, I felt it was solid, if not overly memorable. After the first couple listens, is when you start to hear more of a brooding take on EDM, thanks in part to Cass’s impressive baritone register. The track is imbued with just enough pop seasoning to be accessible to radio, but not excessive enough to instantly lose flavor. Honestly, the material itself is rather middle of the road, but it’s Cass’s performance that renders it noteworthy.
In the description of the video for “Enemy Number One,” Calvyn posts an inspiring message. “Life is hard for all, and harder for some,” was a line that particularly resonated with me. His journey sounds to be one of a very personal nature, as he describes self-medicating as a means to not just an end, but essentially a loop of despondency. It’s easy to imagine not only an artist like Calvyn Cass, but the human being behind that, as one who has had bouts with self-loathing. Regardless of how the world is becoming a place of acceptance, it can never truly compensate for the lonely reality of being an outsider. Therefore, the symbolism of Calvyn’s work is brimming with profundity.
It’s tempting to become enmeshed with hyperbole, when it comes to describing an artist, like Calvyn Cass. In many ways, he is a throwback, who is dutifully comfortable in the present. Hopefully, audiences will understand how enthralling it is to get caught up in the excitement of discovering a performer with multiple layers. Capturing people’s imagination seems like such a futile task at this point, that many of us are quietly and somberly accepting it as an irrevocable side effect of evolution. Regardless of the existential turmoil that we seem to currently find ourselves, maybe, just maybe, we can one day return to creating ourselves, instead of constantly defending ourselves. It would appear then, that Calvyn Cass, has the right idea.
Rachel Townsend