Article on the arts: the music that sustained us during (another) year of the pandemic
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Respected by Bill Marx
Canadian singer-songwriter Allison Russell Outdoor child make two lists. And also Little Simz’s Sometimes I could be introverted.
Paul Robicheau
Concerts once actively fueled my musical input, but this was largely abandoned in another pandemic year (a minor realignment compared to the real losses of others). I chose seven musical projects that marked me the most in 2021:
Outdoor child, Allison russell. This Canadian singer-songwriter comes to life with a sublime debut solo that reflects her survival after childhood sexual abuse, sailed with uplifting determination and melodic grace. It glides effortlessly through a sweet and bewitching amalgamation of folk, blues and gospel, plus a touch of clarinet. No wonder she was one of the stars of this year’s Newport Folk Fest.
Cavalcade, Black noon. Maybe this eccentric maelstrom isn’t much crazier than our fractured world. The young rock experimenters of London evoke the musical equivalent of a painting by Bosch on a second album bursting with brash dynamics and increasingly immense range. My opinion.
poem of your, Charles Lloyd and Wonders. While Pharoah Sanders received more kudos for Promises, his ambient collaboration with electronic artist Floating Points and the London Symphony Orchestra, I was more engaged by the meditative spirit of his fellow sax guru Lloyd and his band made up of sound sculptor guitarists Bill Frisell and the ace pedal steel Greg Leisz. My opinion.
Sometimes I could be introverted, Little Simz. Ambitious Anglo-Nigerian rapper hits her groove with cinematic orchestration, seductive soul-jazz, edgy afropop and bouncy ’80s electro-funk, accented by her autobiographical, powerful flow and whimsy fairy tale. “The top of the mountain is nothing without the climb.”
30, Adele. Five years later, another Adèle album, another triumph. Of course, it could be the phone book. But this post-divorce jag takes the vulnerability of the heart on its sleeve to the top of the mainstream thanks to her crack production and her ever-wonderful voice.
Re-edit: Mingus at Carnegie Hall (Deluxe Edition), Charles Mingus. I loved the original album as a guest blast session, but this stellar extended ensemble pulls the balance and power of the entire 1974 concert (including 72 minutes of unreleased music) that highlights light the usual band of the legendary jazz composer before the fireworks recall. My opinion.
Concert: King Crimson at the Leader Bank Pavilion. Some may dismiss the three-drummer edition of the legendary prog-rockers for its less edgy repertoire style, but guitar master Robert Fripp’s septet (including historic remnants Tony Levin and Mel Collins) has overhauled the catalog with a orchestral approach that did justice at the time. covering material. And that September show was probably our last chance to see Crimson perform live. My opinion.
Paul Robicheau served over 20 years as a contributing editor for music at Bad Bostonian in addition to writing and photography for the Boston Globe, Rolling stone, and many other publications. He was also the founding artistic editor of Boston subway.
Daniel Gewertz
The biggest news on the American music front, for good reason, is Raise the roof, the long-awaited follow-up album from Robert Plant & Allison Krauss, well 14 years after the release of Sand rising, their Grammy-winning album of the year. But since I haven’t listened to enough new stuff to whip up a real top 10 list, let me instead mention one album and one-time release from 2021 that received less media fuss.
The single: Diana Jones, “I Believe You”, taken from the album Song to a Refugee (Appropriate records)
Veteran folklore Jones took the title “I Believe You” from Alexandria Ocasio-Cortez’s testimony to Congress, speaking out on behalf of border refugees and their life-saving asylum claims. Three luminaries of roots music – Steve Earle, Richard Thompson and Peggy Seeger – join Jones, each singing a verse. Modern problem-centric folk songs are not uncommon, but they rarely deserve to join the ranks of the old standards, as this touching hymn certainly does. Simple, elegant, emotional.
The album: Allison Russell, Outdoor child (Fantasy Records)
Previously known as a member of Po ‘Girl, Birds of Chicago and Our Native Daughters, this singer, songwriter, banjoist and clarinetist with exorbitant gifts seems to finally be on the verge of fame. Outside Child and the single “Nightflyer” were nominated for three Grammys. After 20 years in music, this is the Canadian’s first solo effort. It’s a joyful, winding album: a long time in the making, but recorded in four days. It is undeniable that Russell’s many years of sexual abuse as a child form the lyrical core of this courageous work, but it is no lie that the essence of “Outside Child” is the unhindered sound of rapture and rapture. of liberation. Her videos show this exquisite woman owning the stage in a manner that is both calm and energetic.
For 30 years, Daniel Gewertz written about music, theater and films for the Boston herald, among other periodicals. Most recently, he has published personal essays, taught memoir writing, and participated in the local storytelling scene. In the 1970s at Boston University, he was best known for his Elvis Presley impersonation.
Alexander Szeptycki
After jumping between songs throughout the year, these are the ten albums on which I came back the most at the end of the year.
Bruno Mars and Anderson .Paak – An evening with Silk Sonic
Bruno Mars and Anderson .Paak, two old souls with a penchant for funk, were pretty much guaranteed to be successful in their collaboration with Silk Sonic. It is evident that both were fully engaged in the project. An evening with Silk Sonic is a lovingly crafted retro funk tribute exercise, a shock block with ironic innuendos, shattering melodrama and sultry love jams.
Remi Wolf – Juno
Remi Wolf’s first feature film is vibrant, bursting with colorful chameleonic music. Remi infuses futuristic pop with funky grooves that are showcased by its impressive lineup and varied deliveries. It’s an album that delves into the artist’s eccentricities, and never ceases to be fun.
Japanese breakfast – Jubilee
Jubilee is a drive on overcoming pain. Michelle Zauner ruminates on the ways in which she can feel joy again, and each track is backed up by jaw-dropping pop arrangements. This effort is deliciously smooth and luminous, although there are hints of painful memories.
Arca – kick iii
Each time you listen to the music on Arca’s kick iii becomes more and more hypnotic. The producer inventively twists dance floors through distortion, chopping drum beats and melodies to the point where they are almost unrecognizable.
Slowthai – Tyron
Slowthai put a bit of old and new on their second album Tyron, mixing a gentle introspection with its characteristic grimy and aggressive sputum. The fusion works well – he grew up as an artist without straying too far from what made him so exciting to begin with.
BROCKHAMPTON – ROADRUNNER: NEW LIGHT, NEW MACHINE
BROCKHAMPTON is a collective that offers a breathtaking palette of talent, which makes their recordings so harsh and exciting. The devastating personal story of lead signer Joba is central to this project, which gives it a huge advantage.
Tyler the Creator – Call me if you get lost
After a few albums that showed the mellow side of this singer / songwriter, Tyler the Creator returned to his coarse renegade roots. His verses, which explore his past, are well written and confidently delivered, reflecting a more fully formed art.
Jeff Rosenstock – Dream of ska
The concept behind Ska Dream is simple: Jeff Rosenstock has rewritten his entire 2020 album No dream, shifting its kind to the third wave ska. The biting pop punk jams translate easily into ska, aided by howling horns and accelerated musicality.
Illuminati hotties – Let me do one more
Mproducer, mixer and usic engineer Sarah Tudzin channels life’s problems into hits. After dropping a mixtape to break free from a contract with a label, she made her own mark. This album is his debut album, and he injects effervescent pop punk creativity into every track. It is a journey filled with joy and anger – and everyone is exhausted.
Little Simz – Sometimes I could be introverted
At Sometimes I could be introverted, Little Simz creates its own world. The instrumentals are lush and varied, ranging from pieces with opera choirs and horns to breathless acoustic numbers. The British rapper effortlessly flows over it all, weaving a gripping personal narrative.
Alex Szeptycki is a writer from Charlottesville, Virginia. He is a recent graduate of Stanford University, majoring in American studies with a specialization in contemporary art and pop culture. He is currently working as a freelance writer at Artistic fuse while navigating post-graduate life in a pandemic.
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