Musa Sumni’s ‘Gray’: Album Review – Various5 min read
Loneliness and isolation is not just a concept for people paralyzed by COVID-19. The musical instrument of solitude is a pop adaptation of its own. To Tyler, the 1956 “Frank Sinatra Singer for All the Lonely”, abandoning the “boredom” of the creator’s sad eyes is the equivalent of worship, and with it the happy-unhappy aesthetic is a self-fulfilling prophecy.
Musa Sumni is the master of this kind of adulterous epic and it is getting better all the time, judging from the space between his latest album, 2017’s hot “Aromaticism” and this week’s Ice “Gray” ging double album which released in the first half of February. Available.
Fancy and sad, Sumoni is creating a hugely isolated hybrid abstraction with electronic-laced R&B, folk, jazz, art-pop, glit-hop and m.USC concrete Absolutely unusual by the nature of “Gra”, yet without a dark sense of humor, Musa continues to do this work quietly, following the debut of his low-fi in 2014, “Mid-City Island” EP. “Gra” is simply seen as loud and proud – touching on issues related to romance, caste, feminism and the definition of stereotypes – a forward-thinking political edge, real anger and a real sense of peace in lyrical activities.
Since its debut, every recording and collaboration (including a seat at Solanj’s “Table”, “Take the Form” by James Blake’s “Reader” and Beck’s “Reader of the Song”) has seen Sumni’s trembling, scarf-up, FX-soaked falsetto burn to the top. Her voice, often doubled and triple resemblance, is heard in “Gra”, but the most popular alone (when “Keep Me Alive”) is usually a love affair.
However, San Bernardino of Ghanian descent does not simply abandon romance for being alone. Sumoni has become indifferent and sick to any thing of love or any shaking of the public. It is important to note that the latter element can become a kitchen = sinking relationship as a free, bizarre, enclosed soul-plus of the Musa pepper brand. Open-ended clutter relatives about him: “My identity is this kind of patchwork,” he told NME recently. “It’s not something that – or I want to be defined” “
Like it or not, there is a definition of what Moses does about “gra” or at least the parable. Although he doesn’t hear anything like Prince, hold on a few, Moses ‘supreme “Gra” could not have survived without the purple “Sign O’ Times.” Seal’s self-titled 1991 album was a great reference point when it came to “Gra’s” free, orchestral R&B. Anthony and Johnson’s “I’m a Bird, Now,” Frank Ocean’s “Blonde”, “Nina Simon’s” Wild Is the Wind “and Adrian Young’s” Presents the Dolphinics “also have Sumney-like, space art hop race dogs.
The wine synthesis of “Insula” and the Bedrock subdivision of “Isolation” introduce “Gra” with a bitter-cold background and disconnection that remains fixed in most parts of the external package. To go with that double kite, “Cut Me” ‘s rubber ball-bouncing rhyme and “In Bloom”‘ s surrounded jazz opera Sumni’s opportunities allow her to show off her handsome scraped falsetto and her Billy Holiday-like jerks, while Beat Weirweight, the insecure sister Mutt such as “Filled with doubt / Whenever I feel / Most alive / Masochistic kiss / How do I succeed” “
Every few songs, there is a statement song – a track that is a little bit grainy and a little more full which either stops the “Gra” show or tweets its tragedy.
With his harp, flute, timpani, grand piano, high string strings and thunder, “Viral” is a composer of Gra’s music, with daily meshimos and lines finding the summons to shake out the rarity of heroism. Arch “and” Here’s the boys ‘/ and word / plain’ part. “
The same stop-and-turn occurs after the gentle artistic sound scapes of “Conveyor” and “Boxes” with “Gagarin”. Here, jungle-skitting spans, tinkling pianos, and crashed symbols perpetually confront the bath with the fridge’s magnetic poem (“The earth never spins on its axis / I’m spinning in ecoprax”), yet for the most stagnant language and the deepest sense of self-loathing. Scatter.
Sumney Knorr’s saxophone giggle, jig-jogging quartz and brush battalion from Spain that aches “Kalaru” with its lower limit. / Since you claim you want to die / The color is compost / Mite can make you resurrect “” Moses often ” Any day now on “offhand, but when he comes, the fur fly.
This project is interesting considering that it has already been released in two parts, the next one that will come seems to go beyond its own division, with some songs that are somewhat flossier and less FX-powered than the 10 that preceded them. Starting with “no / no”, the grace and majesty of “Gra” gets bite-sized and less synth-phonic. His unaffected, gurgling vocals scotch, then scatter across the 12-string acoustic guitar jitter, until he enters from the bright fields and into the rim-click rhythm of the robot-folk-soul. “Poly” and conventional, open and humble, Sumoni can hold her notes in this ocean song as if to breathe while drowning in ice water.
When a song like “Bystanders” is spread with isolated environments and humorous bird sounds, the clichানের of the song that ends the album is more naked than anything before “Gra”, which conveys the music with complex but cut melodies.
Before the squatting synth, the vocalist and a piano piano untouching melodic drama and lyricist are touching “Me in Twenty Years” with stories of joy and sorrow with each bite. “Keep Me Saved” Cool Ink F-Hole Guitar Jazz with the wettest vocal production and a charm for its simplicity that is absolutely unusual in contrast to everything else in the bi-LP package. “Lucky Me” spreads with the puffing of placard orchestra strings and slow-down steel drums as Sumoni with her most trembling, bloody voice. At most, like Anthony, the song only takes on a more intense shape after Sumoni doubles, the amount of Moses-S in the mix.
“Bless me” wind and a prayerful single word around the melody tuned by thumbed and streamed guitar lines and a prayerful single word: “You must be an angel / clear your conscience / why bury yourself / throw a monster like me / if good lord sends yes / The good lord can come back to you / I hope when he comes for you you / you will enlighten the way. “
“Gray” is one of the great, multi-genre messes in multi-colored costumes – though not the monochromatic title Grace – and it’s probably not the double-album spread out literally the biggest album of 2020, but one of the boldest and best of the year.