The American singer and songwriter Joan Wasser alias Joan As Police Woman, the coolest mumbler of all time, has recorded a new album: “The Solution Is Restless” (Pias). With the Afrobeat drum genius Tony Allenwho died shortly after the recordings, and the British guitarist and avant-garde pop tinkerer Dave Okumu from The Invisible. Under the always irresistible indie cool of water, beats and sounds circulate that make the songs float extremely elastic in the best sense of the word. Music for the obstacle course through overcrowded subway stations on Monday morning – which one would never dare (especially not at the moment), but after which one would be a happier person. Be sure to listen!
And another tip: the famous Israeli rapper and singer Noga Erez has turned their second album “KIDS”, released in January, into an acoustic big band album: “KIDS (Against The Machine)” (City Slang). It doesn’t just sound like a big band album, but like an album for which a picky hip-hop producer with very good taste has picked out exactly the drum and brass sounds with the most oomph. The rest was simply left out. For dancing through crowded subway stations in the evening on the way home.
More than 20 years ago, in 2000, the British songwriter had the mediation of the BBC Billy Bragg once the pleasure of being with Boris Johnson, then the columnist for the conservative British weekly The Spectator was to walk through the Glastonbury Festival for a day accompanied by cameras. If you look at the video today, you can see how Johnson, who is obviously booked as an anarcho-conservative by the BBC, is chatting anarcho-conservatively about the area. Without a doubt, he had considered playing the high priest of capitalism in a convulsive good mood in a place of counterculture in a beige jacket, tie and light blue shirt. He comes up with that Clash-Song to speak “bank robber” and says: “That’s your philosophy, isn’t it? Left-wing applause for robbing capitalists.” Billy Bragg, then as now, something like the shrewd left-wing conscience of British indie pop, took on with extremely robust gallows humor that only British can have. In an interview with the Guardian he now delivered the final psychogram of Johnson in remembrance of the day: “He was constantly trying to lure me out of the reserve with cheap provocations. That’s exactly how he is today. We made a crazy dealer prime minister. How damn it could that ever happen? ” The bitter punch line of the answer to this question is, of course, that it got to this point because Boris Johnson’s anarcho-conservatism is unfortunately more pop than all righteous left popists have feared.
You have to look at the accompanying formation The Night Sweats as a kind of salvation for Nathaniel Rateliff introduce. Artistic. But also commercially: “SOB”, the 2015 released first single of the octet, which always appears in coarse jeans, a somewhat exhausting Doo-Wop and Rhythm-and-Blues number, currently has a massive 77 million views for this music on Youtube . Without this success, which he had no longer expected, the singer from Denver, Colorado would have given up. No more music. The famously creaky Americana songs, the clever, introverted reflections on life that he had previously given solo, were rightly praised by the more important US music authorities – but they weren’t bought very often. Then the hit. And now the new problem, rescues often bring new problems: The R’n’B of the Night Sweats is permeated with uplifting soul, but also with hyper-wide-legged masculinity. “SOB”, for example, stands for “Son of a bitch”, and this descendant of a prostitute, as Rateliff sings it, should kindly give him a drink now. Because: “If I can’t get clean, I’m gonna drink my life away” – if I can’t stop drinking, I’ll just go through with it now. That bothered Rateliff last. He wanted it a little smaller again, a little less drunk. A touch more emotion without a roar. So he withdrew and started writing alone – finding himself a little bit, understanding how much solo energy fits into the band. Only then did it go back to the rest. And what can you say: grandiose step. The album “The Future” (Stax Records) is actually a highly successful combination of Rateliff’s singer-songwriter qualities and the muscular, brass-borne Stax soul grooves of the Night Sweats. Seldom goes well, something like that. Here already.
The pop world is waiting more eagerly for an album than for “30” by the British singer Adele. Your latest came out six years ago and was of course a huge success. The new one will be released in mid-November, but the list of song titles has already been announced. If there is one more sure sign of great expectations in pop, it is this. So we now know about the new album that it contains songs with such distinctive titles as “My Little Love”, “Cry Your Heart Out”, “Love Is.” A Game “or, oh my God,” Oh My God “! And do we now have a good argument for joining in with the hype with this little comment that is supposedly above the point? Hell no! We can only advise you to first listen to Noga Erez, Joan As Police Woman or Nathaniel Rateliff.