Timbre Post

A renowned poet has a new album out Friday titled “The Gospel According To Nikki Giovanni.” In addition to publishing dozens of poetry works, Nikki Giovanni has recorded several spoken word albums over the course of 50 years. But this time, she’s doing something a little different. The new album, a collaboration with saxophonist Javon Jackson, is a collection of gospel hymns and spirituals set to jazz. Growing up in the Baptist church, Giovanni says gospel music was instrumental to understanding herself as a poet. “The spirituals had a message,” she says. “They weren't just some people woke up one morning or came from working in the evening and said, ‘Oh, let's sit down and sing.’ They were sharing information with each other.”

With The Miraculous, Swedish singer, songwriter, and keyboardist Anna von Hausswolff has delivered an album as different from 2013's celebrated Ceremony as that was from 2010's Singing From The Grave. On Ceremony, Hausswolff discovered the sonic possibilities of the cathedral organ. Her four-octave vocal range rose above compositions that wove classically tinged Gothic art pop and skeletal post-rock that touched on Sweden's gloomy operatic and folk traditions. Sometimes gentle and dreamy, and just as often moody and droning (sometimes inside the same tune), she has created an iconoclastic brand of indie music. On The Miraculous, Hausswolff doubles down on the organ. The instrument she's using here is an enormous 9,000-pipe Acusticum Organ designed by Gerard Woehl. Its vast tonal and instrumental possibilities include sounds for glockenspiel, vibraphone, celeste, percussion, and indefinable high-pitched shrieking sounds that extend the upper reaches of the Western harmonic system (these pipes are partially submerged in water).