Sam Wrangle – “Future Copy”


A jangly engrossment compels on “Future Copy,” a single from Sam Wrangle. The Brisbane, Australia-based Wrangle infuses an escalating jangle-pop allure alongside literary lyrical prowess, emphasizing the “gatekeeper” and “the other side” alongside a journey toward success, which only starts when one can move past the gatekeepers and critics in life.

Twangy guitars drive into a relatable vocal frustration: “You can only do your best for so long, until you want for something better.” A steady bass line and sporadic guitar flourishes traverse into a gorgeous vocal ascension as jangly guitars frolic more vibrantly. The “you’re lucky to be alive,” refrain exudes a carpe-diem sentimentality following the yearning for brighter skies. Suave guitars and bass conclude the effort with lingering impact. “Future Copy” is another success from Sam Wrangle, previously impressing with tracks like “Dress to Impress.”

Wrangle elaborates further on the track:

It’s the classic tale of an artist wanting to free themselves from the shackles of ‘commercial success’. The idea that; in order to be successful, you gotta make it passed the gatekeepers, the critics, and people close to you. Like most things in my work (and due to my background in English literature), I enjoy juxtaposition. In this song, I’m dismissing the idea entirely: “Gatekeeper raise the portcullis.” Even if I’m being gatekept, at least I’m free to do as I please, and juxtaposing it with mortality.

The opening verse is a summary of what it’s like to be a high-school English teacher. I’ve tried teaching, but I’m ignored frequently. You know that expression: “Give em an inch / and they’ll take a mile.” That’s pretty much me. I’m too nice. I’m tired of being nice. For what I do – I’m not rewarded for my openness – I’m punished.

This and other tracks featured this month can be streamed on the updating Obscure Sound’s ‘Best of November 2023’ Spotify playlist.

Mike Mineo

I'm the founder/editor of Obscure Sound, which was formed in 2006. Previously, I wrote for PopMatters and Stylus Magazine.

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