22 August 2010
I had some ambivalence about the small venue tour Sufjan went on last fall — the music’s Liberace-like indulgence, the way his band consciously abandoned structure but then, perhaps, overshot that effort and abandoned good taste. Philosophically it was intriguing; the music that resulted felt a bit forced. It meandered where, before, it was compulsively engaging.
I’m only a few listens into his new release, an EP titled All Delighted People, but it excites me on a number of levels. I like way he released it: an intentionally desultory approach wherein it just kind of popped up on a wonky, semi-established internet site with a rough hewn but charming cover, the kind of image an ambitious teenage kid might cut & paste on the cover of a mix tape or CD. (Sidenote: Do people still make mixtapes?)
I like the weird heft of it — a 60 minute EP! — and the through-line it maintains from Sufjan’s recent public statements to the musical execution of the recording. In a long interview with Paste Magazine, he had expressed a lack of faith in established musical formats (via Pitchfork). i.e.
Most importantly I like the music in and of itself. He’s tamped down the “too much jazz” of last year’s tour, but maintains the loose intensity of the music he played and an emotional register which is even more idiosyncratic than the songs he’s released in the past. On the website for his label Asthmatic Kitty he calls it “a dramatic homage to the Apocalypse, existential ennui, and Paul Simon’s ‘Sounds of Silence,’” though it feels as much like a jazz/classical/noise version of Van Morrison’s Astral Weeks.
It’s loose, it’s messy, it’s redolent of the 1970s and it has soul. It sounds like a good way to spend a Sunday morning.
PS – The morning after writing this post, while actually listening to it on a Sunday morning, the influence of church music also came to the fore: the ecstasies and intimacies and oh-so-human breakdowns; the gender-neutral chorus wherein the vocal registers of the singers remains ambiguously castrati-like; the final resolution of the songs which sets a certain tone: one of hard-earned uplift and hard-won peace.
Posted by Alec Hanley Bemis
12 July 2010
The National, Dirty Projectors, Sharon Jones & St. Vincent all shared a stage earlier tonight (Central European Summer Time) at Les Nuits de Fourvière, a two-month long, multidisciplinary arts festival that happens every year in Lyon, France, about four hours Southeast of Paris by car.
This summer one of the festival’s artistic directors, Marc Cardonnel — his official title is Conseiller Artistique (tres chic!) — visited my neighborhood to get some more background on a night he’d booked dedicated to the musical life of our borough. Point being his crew filmed my interpretive waxations on the subject, wherein I trace the distinctions between Dirty Projectors (representing younger Brooklyn), The National (representing bourgie Brooklyn — pronounced boo-zhee and not really French), and Sharon Jones (i.e. real Brooklyn as in, like, she lived in Rockaway for awhile which is, to be frank, actually in Queens).
St. Vincent is nice and all but she’s more or less from Texas.
Also they made my hair look terrible:
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Posted by Alec Hanley Bemis