A decade after the release of her most politically outspoken album, a reinvigorated Tori Amos once again takes aim at the state of the world on her 15th album, Native Invader. One of Amos' tightest and most digestible efforts, it's a standout in her late-era catalog, featuring instant classics like the epic "Reindeer King" and the surprising thrill "Up the Creek." Much like spiritual sisters American Doll Posse and Scarlet's Walk, Native Invader was influenced by political turmoil on American soil; this time, following the outcome of the 2016 presidential election. However, instead of directing her barbs at an obvious target like she did on "Yo George," she veers her attention toward nature and the land.
Celebrating the thirtieth anniversary of its 1987 release, it's the ultimate collector's edition of The Joshua Tree. A live recording of The Joshua Tree Tour from Madison Square Gardens in 1987, b-sides from the original singles and new remixes from Daniel Lanois, St Francis Hotel, Jacknife Lee, Steve Lillywhite and Flood form part of this special edition of The Joshua Tree.
The fourth studio album by the cello duo of Luka Sulic and Stjepan Hauser, Score takes on favorites of the big and small screens, dating back as far as the '60s for Henry Mancini's "Moon River." Later highlights include a medley of Ramin Djawadi's music for TV's Game of Thrones, still in production at the time of the album's release. 2Cellos are joined here by none other than the London Symphony Orchestra and conductor/arranger Robin Smith, who puts appropriate focus on the duo's own cello arrangements.
t's tempting to hear Kamasi Washington's six-track Harmony of Difference suite as a follow-up to his sprawling, justifiably acclaimed three-hour debut The Epic. But this EP, at just over half-an-hour, is, in many ways, a standalone work. It was performed in New York at The Whitney Biennial as part of a show that included a film by director A.G. Rojas and paintings by Washington's sister Amani. According to the artist, it was composed to explore "the philosophical possibilities of the musical technique known as 'counterpoint.'" Washington defines it as "the art of balancing similarity and difference to create harmony between separate melodies." That description is, at least in this setting, akin to metaphor in the current socio-political-cultural era where flash point battles over issues of race, gender, sexual orientation, and cultural appropriation are being waged afresh.
Julian Lage fortunately has met the wizard Zorn and this has discovered the wildest side of Lage. The explosive combination of Lage and Matt Hollenerg to the guitars with a session, really surprising of combinations with Trevor Dum on bass and Kenny Krohoswski on percussion, under the incredible musical sense of Zorn, produces this album where it fits everything, pok, rock , atonal jazz and whatever you can think of, sometimes in the same song. Accustomed to a technically perfect and exquisite Julian Lage, see the collaborations with Nels Cline, this one that goes out of its way with an unimaginable elegance and strength. It is another Lage and a wonderful CD where it is shown once again that good musicians have no limits. Excellent.
From his first recordings in 1953 to his death in 1989, Franco Luambo (to use one of the many possible extensions of his name) dominated the music of sub-Saharan Africa in a way that is difficult to over-estimate. And the fact that he is still comparatively unknown in the world of ‘world music’ is a travesty of justice that these 2CDs, with their rare photos, thoroughly reasearched and eloquent notes, sets out to redress.