8 DAWN: Second Line

2019 #11, 2013 #24

DAWN (née Richards) is quietly becoming one of the world’s most astonishingly unique, progressive and essential artists. Well, I say ‘quietly’, there is absolutely nothing ‘quiet’ about her sixth studio album. It’s an extravagant, extraverted, shameless parade of confidence. Continuing the dissection and celebration of what New Orleans means to her that began on the (already fucking amazing. Already fucking. It fucks. That album fuuuuuucks. This one might even fuck harder. I have been violently pegged by this album for eight months now) 2019 album ‘New Breed’.

But ‘Second Line’ expands its focus far past the Louisiana city, aiming to use its Afrofuturism to comment on wider instances of black people migrating across state lines and why they ever felt moved to do so. Even when the lyrics or the spoken word montages from DAWN’s mother don’t explicitly make the statement, DAWN’s incredible amalgamation of seemingly every black musical culture of the last 500 years – jazz, obviously, but DAWN also ensures that you’d be able to consider her but never box her in as an artist performing funk, R&B, soul, hip-hop, blues or even grime – is still a pronounced statement on both the artist’s continued existence despite so many barriers, and also to the communities that were able to inspire that. There’s a lot going on here! Which is one of the reasons I love it!!

SO WON’T YOU CLICK LIKE ME?

Necessary Evil 2019 (16-11)

Boooooooooooooooooooooooooo-yar!! This will actually take us up to the top ten! And it’s not even Christmas yet!! Just to be clear, you should all be very impressed.

16 Pickle Darling: Bigness

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Just… gorgeous. ‘Bigness’ seems almost like it was intended as something of a wry, ironic name, as Mr Darling deals in ostensibly small scale music. His songs can initially seem so slight, polite, inoffensive and casual, all linked with a voice so hesitant and unassuming that it’s the volume and urgency that a fruit fly might adopt if it wanted to get the waiter’s attention at Costa Coffee to inquire as to what was taken its Hazelnut Praline & Cream Latte so long but didn’t want to make too much fuss. The tags that the album is identified with on Bandcamp are alternative; bedroom pop; christchurch; new zealand; pop; indie; indie pop; Christchurch, which tells you one thing… Well no, it firsts lets you know that Pickle Darling is from Christchurch, New Zealand, as he’s so keen for you to realise that that he states it twice, but the second thing that the tags tell you is that ‘Bigness’ is a bit of a cheery, unassuming and- in the words of Helltown– ‘bedroom bullshit‘ kind of record. It’ll be fine. It’ll be cheery, a little bit twee but well meaningfully pleasant. Most of all though, it’ll be small.

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Continue reading “Necessary Evil 2019 (16-11)”