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What a big hunk of pretentious boring shit. If you love this album then that's great for you, you have a huge album to enjoy over and over again. But me I simply cannot get anything from it, it's absolutely got no emotion or rhythm... It's just so empty with a few nice production touches here and there, but that's useless cause I get nothing out of her singing or whatever stories she's yapping about. She does sound like Joni Mitchell a bit at times, but only a half-assed soulless version and I'd rather hear the real thing. Or Lhasa for that matter. This music is not what I look for in music... I've only given this one listen so this isn't the most worked out review, but I don't ever plan to ever listen to it again so there you go.
| >> | No.46365978 File: 291 KB, 396x393, 1396748317048.png [Show reposts] Image reverse search: [iqdb] [google] >>46365507 So you accept that you don't get it? ITT: Favorite Newsom lyrics Can you hear me, will you listen Don't come near me, don't go missin' In the lissome light of evenin' Help me cosmia, i'm grievin'
And all those lonely nights down by the river Brought me bread and water, water in But though i tried so hard my little darlin' I couldn't keep the night from comin' in
And all those lonely nights down by the river Brought me bread and water, kith and kin But in the quiet hour when i am sleeping I couldn't keep the night from comin' in
Beneath the porch light we've all been circlin' Beat our duck's hearts, singe our flower wings But in the corner, somethin's happenin' Wild cosmia - what have you seen?
Water wet her limbs, fire warms her hair [water were her limbs, fire was her hair] See the moonlight caught her eye And she rose through the air Well if you see true light, then this is my prayer, oh; Will you call me when you get there?
And i miss your precious heart And i miss your precious heart And i miss your precious heart And i miss your precious heart But release your precious heart To its feast, oh precious heart milkymoon |
| >> | No.46365996 The two-hour tour de force of Have One On Me (Drag City, 2010) was justified not by a broader stylistic palette but by a deeper understanding of her own psyche. In fact, many of the songs refrained from the potentially wider choice of instrumentation and returned to her harp soliloquies. Newsom mines both the rich tradition of introspective female singer-songwriters and the rich tradition of avantgarde singing. She delivers meditation steeped in the profound aloofness of a Joni Mitchell. Easy follows in the footsteps of Jane Siberry, Lisa Germano and Kate Bush mixing childish bedroom nursery rhyme, austere renaissance song, Chinese opera and gospel melisma. The harp delight of '81 is a miniature version of the same multi-cultural and multi-generational synthesis. The eleven-minute Have One On Me is an exercise in creating and dissolving chaos, as it begins quietly in the vein of neoclassical chamber music and cool jazz but slowly builds up, along the way toying with marching-band pomp, quasi-Caribbean effervescence and multi-voice choral counterpoint. One of the most radio-friendly songs, Good Intentions Paving Company, delivered in a wavering tremolo voice over a sprightly country-rock rhythm, sounds like a cubistic version of vintage vocal harmonies. That's as much entertainment as she's willing to grant. |
| >> | No.46366027 >>46365996 The soul of the album, in fact, lies in the more spartan songs. Vocal pyrotechnics provides the scaffolding for No Provenance, and it's just the appetizer for Baby Birch, one of her artistic peaks, over nine minutes of delicate spiritual-like invocation that achieves a sort of mildly psychedelic and Eastern spiritual ecstasy before embracing an earthly blues rave-up. The piano-based In California is a close second, with a tone that endlessly mutates from wailing to meditational and to tragic and to mesmerized, frequently soaring to chirping heights. Forming a trilogy of sorts with those two, Go Long (one of her zeniths as a poet) climbs even higher summits of pathos, the harp tinning like a baroque harpsichord while the voice is indulging in a fragile solo dance. The voice has to carry a significant weight when it is accompanied only by harp or piano. Esme is more expansive and quick-footed, and anchored to a stronger melody, resembling an exotic melodic fantasia. Ribbon Bows pivots around another touching melody, imagining a quasi-operatic folk revival. You And Me Bess borders on the gentle pop lullabies of Burt Bacharach but slowed down to a pace more appropriate for a requiem. The ultimate perfection is sculpted in the solemn two-minute harp ode On A Good Day. Newsom also returns to the abstract chamber lieder of Ys with Autumn and Kingfisher. However, that format here feels a bit weak and steely compared with the other more humane elegies. |
| >> | No.46368380 >>46367847 The maturity of the musical styles does not match the immaturity of the lyrics. "When time was just a line that you fed me when you wanted to stay." Jesus, it's just naggy as fuck. Then the next song, "Kindness prevails." Does she practice that maxim? Maybe when it comes to Esme and girls like Emily, but I think she thinks all bad in the world is caused by men. Why else would she marry Mr. Harmless, man-hating bitchass Andy Samberg?
Instrumentally, "Autumn" bounces and twists. It's beautiful. But the lyrics.. I'm not kidding. They're oddly a lot like the shit my ex-girlfriend would say around 2010, just this never-ending pretending that she could do no wrong, interest in images and actions over introspection and admissions of guilt in terms of emotional negligence. Find me a single line on the entire three discs where she admits to doing anything wrong. But I play this for Newsom detractors: http://www.youtube.com/watch?v=8vmHaYZ2mEE That bridge is heart stopping. But even this song is based around "Chestnuts Roasting On An Open Fire," and I'm not sure WTF that has to do with anything on the album. She's got to be a pretty mentally unstable to write such great music; she's always seemed a little cross-eyed and autismal, and her growing out of it means she releases a triple album of her swan songs, her being perfect, and the title of the thing seems like some sexual reference: "Have One On Me." Maybe kinky like "Take A Shit On Me," IDK. Like that "Three Little Babes," holy ... fuck.. make the self-indulgence stop. |
| >> | No.46373587 >>46373452 The problem with your argument, and this is coming from the guy who posted the long post about her seeming naggy and pro-woman to a fault, is that her voice has changed, physically, with vocal nodule surgery. You can totally hear the difference on HOOM, she coos more and doesn't squawk as much. But my main reference point is MEM for an album.
Actually, if you wanna talk about her voice, I find the first few words on "Emily" to sound way too much like Devendra Banhardt for my liking, and just 'cause she toured with him doesn't mean she gets to do that yawping thing. But.. I think there's a frustrated anger to Joanna's styles, and her dealings with men.. IDK it goes too deep to really verify, because she's relatively private. |