Loaded with pedal steel, fiddle, chirruping cicadas, howling dogs, and Tex-Mex trumpet, is The Land is Inhospitable and So Are We – an album, which finds the woman widely hailed as “America’s best young songwriter” sounding like Nancy Sinatra’s vengeful ghost, as she mines a rich, dark seam of swooning Americana. Mitski – The Land is Inhospitable And So Are We A work of Odyssean proportions, pulled off with panache. “Le Minotaure” lowers its head in a menacing grumble of bass and snarling strings, as suspenseful as the Jaws theme. “Les Amazones” bursts with life a flurry of violins like a thousand wings beating all at once and a cello full of character. Mythologies, an orchestral score composed for Angelin Preljocaj’s ballet of the same name, is an extraordinary and ambitious work that reveals the beating heart behind that robot mask. Having shed his Daft Punk helmet after the French electronic duo disbanded in 2021, Thomas Bangalter swapped synths for a symphony on his first full-length project in 20 years. She finds her inner dove on the romantic “CooCool” and repeatedly snarls “f***’s sake” in response to the various frustrations of “The House”. Murphy makes the most of her voice: it growls, purrs, swoops, and soars. There are funk guitars, electronic bleeps and wallops of golden brass. Her freewheeling emotions – running the gamut from joy to sorrow, spitting rage to shrugged acceptance – are set to richly textured Balearic backdrops crafted by Germany’s DJ Koze. When she turned 50 this year, Murphy found herself “amenable to some playful silliness” and made the most danceable record of her career.
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