In the 1990s, I remember reading a book by a political theory professor who thought living in The West writ large was a lot like living in a supermarket – where there’s abundance to the point of feeling paralyzed by choices. At the time, I thought, the dude was being melodramatic.
And then the internet became a thing…
Now I know how he felt standing there in the cereal aisle – frozen by the sheer amount of choice. Truth be told, I’ve never had problems buying cereal, or anything else in the grocery store, but I do confess to feeling that sense of paralysis when it comes to music. I know that I often grouse about the firehose of music at our fingertips and how difficult it is to keep up, but it’s true. There’s just too much that’s being released, and much of it doesn’t break much new musical ground, or stand out in a sea of soundalike songs. So, pairing down a list of new music recommendations by featuring three songs is, I think, a good number. It’s not too few that one says, “Hey, is that all there is?” Nor too many that one says, “Hey, can you please stop?” But, it’s not about a number, it’s about music that, to me, does stand out in a sea of soundalikes and is interesting to my ears. So, let’s get on with it!
Allie Sandt, “The Flood” (YouTube) Allie Sandt is a singer-songwriter from upstate New York and has been on the Planet LP podcast when the band she fronted (Seeing Double) released their excellent song, “Bygones.” That song was on my Top 10 of 2022, and I was hoping for big things from the band. Alas, things change, and Seeing Double disbanded after touring parts of the Northeast. However, Allie wasn’t done making music. Today is the official release of her single “The Flood.” It’s far and away very different from the music she made with Seeing Double. It’s more rooted in the 1970s vibe of Joni Mitchell with a dash of smooth sounds that evoke Fleetwood Mac in their heyday. There’s a confidence and maturity in Sandt’s singing that belies her age (22), and more so when one knows she produced and engineered the song. Speaking of the production, the 1970s comment about Sandt’s style also spills over into her production aesthetic – which favors a full, rich, and warm sound that takes advantage of the stereo field. Nowadays, we listen to music from devices that aren’t often the best conveyors of sound, but “The Flood” features the tasteful placement of the instruments, a subtle use of sound effects, and a song structure that keeps things intriguing. If “The Flood” indicates what’s coming next from Sandt, I think we’ll hear more powerful songs from a singer-songwriter whose work is advancing and evolving in a satisfying way.
Kamasi Washington, “Dream State” (YouTube) The addition of Andre 3000’s flute meditations on Kamasi Washington’s “Dream State” is like a fusion of Vangelis with a noir, experimental jazz group. Jazz music sometimes seems stuck either paying homage to great players of the past or trying hard to be out there with discordant sounds that feel less like improvisation and more like musical self-immolation. With Kamasi Washington’s upcoming album (Fearless Movement) in early May, he notes that the record is a dance album. Not in the sense that it’s made for the dancefloor. Rather, he notes that “Dance is movement and expression, and in a way, it’s the same thing as music — expressing your spirit through your body. That’s what this album is pushing.” A longtime LA saxophonist (43 years old), Kamasi Washington, like many artists, found himself creating music during the COVID-19 pandemic, a time of death and uncertainty. The birth of his daughter around the same time undoubtedly shaped his perspective as well. This confluence of events makes his new record a departure from his previous work. Working with Andre 3000 on “Dream State” was something of an unknown, and, in a way, fit quite nicely with the uncertain musical direction Washington was exploring. When Andre showed up to record the song with a “bag of flutes,” Washington noted “We’re not easy musicians to swim around with. We moved kind of fast and free, and he was just with us.” Just like the music on Andre 3000’s New Blue Sun made many people kind of go “Huh?” and “Huh.” So too, does Andre 3000’s contribution to “Dream State.” The flute adds a meditative quality to the manic jam that takes off in the middle section of the song. It’s weird, but it works to great effect.
Mark Knopfler, “Two Pair of Hands” (YouTube) One thing that can be said about Mark Knopfler: his music rarely strays out of its lane. Sometimes this is a good thing, but sometimes that comfortable groove gets a little too comfortable that the songs end up being laconic compositions. Not so on “Two Pair of Hands” the mid-tempo, head nodding, almost funky single from his album One Deep River (released on April 12th). When Knopfler was fronting Dire Straits, his lyrics were often cinematic. So much so, the music and lyrics from Love Over Gold inspired filmmaker Bill Forsyth to write and direct the film “Comfort and Joy” – to which Knopfler contributed a couple of original instrumental pieces. Lyrically, “Two Pairs of Hands” lacks the cinematic quality Knopfler is known for, but musically, Knopfler and his band are happily bouncing along with (for him as of late) an energetic vibe that feels like it could almost, possibly, maybe be Dire Straits track from an alternate universe. This may be Mark Knopfler’s last album. He’ll be 75 in August, so it’s anyone’s guess whether he’ll call it a career after this release. One thing is certain, there won’t be a tour to support this record. So drink deep from the Knopfler well while he’s still recording music.
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