Have you ever celebrated when you realize you have survived some shit? This album is a testament of what it is to survive and blossom. Allison Russell is on fire, there’s a good reason. She’s survived, and now it’s her time to thrive. When I listen to this album, it makes me feel as though I’m thriving with her. I’ve survived some shit, and this album is a “high five, we made it. Now, let’s kick some ass.”
I feel it’s impossible to tell my relationship with this album without revealing a little bit of my own story. I was sexually abused as a kid. I had cool parents and everything. It can happen to any kid. I didn’t know this for a long time. I thought I was “special.” When I hear this album, I feel a safe hug and a “You can do it” from someone who knows how I feel. That’s why I love this album. Hardly anyone directs music at fellow survivors. Even though many of us are walking around like zombies after a plane crash, we don’t acknowledge it. This album is about reclaiming life after that crash. And it’s truly glorious when you feel it.
It starts off with “Montreal,” we get lyrics in French. Okay, so if you don’t speak French, that’s fine. This is her way of talking to folks from Montreal. It is completely normal to shout out folks and she does it in their language. Also, she settles the debate about popular music with French lyrics. It works fine if you’re as skilled as she is at developing a song. There’s great subtle touches here of delay on the low guitar, immersive but quiet percussion. It’s a very tricky song too, considering the breaks and lifts. Sounds like it was recorded mostly live, to me.
Before we get too far, I have to say something about how good this album sounds. There is not one errant note to be found. Most people won’t realize how much work it is to make an album sound this good and that’s okay. We as musicians are more than content to provide enjoyable music at the cost of people not realizing how much we work. For some reason when we build a building, we look at it as a wonder of the work of the people who made it. This album is the Guggenheim, or cave paintings, or one of those high-speed trains you read about but have never ridden. It is a monument to what humans can do and more importantly, what they can overcome. It simply sounds incredible.
We start off with pretty much the same band on song number two. “Nightflyer,” is a quiet anthem of self-realization. I love how “quiet” this album is. Here is an example of a bursting free sound at very low volume. It’s almost as if Allison is saying her new freedom is accompanied with peace and quiet reflection. She gives that to us. She shows us how to ring out from the heart, without an arena. She shows us we can keep her voice, if we can’t sing, if it helps us make it through. When I think about her sacrifice and expression of freedom in this song, it is moving. Because it is my song now. And I know it means a lot to her to have written it. Thanks, Allison, for your song.
“Persephone” has a little more accompaniment and bruising. It starts off with a violent scene of ripped buttons, blood, and escape. But there’s relief in Persephone, and it makes me think about the comfort of my wife. I can’t listen to this song and not be grateful that I’ve found so much comfort from the “world outside” in a person like my wife who makes conscience decisions every day to choose to see the best in me and kiss me. It has become an escape and healing environment, our home, because of the love and acceptance of my wife every day. “Persephone” brings me these thoughts.
“4th Day Prayer,” continues Allison’s journey. Some real sad stuff is in the first verse, then she lifts you out of it. Allison is one of the bravest artists out there because she dives in her own memories to lift people still stuck in pain, out. It reminds me of Jesus going to hell after he died, according to lore, to gather up the good souls stuck in fire. I only say that, because this work is a healing album that took Allison’s life to make. She visits painful places in these songs for the benefit of us all, but I think especially for women stuck in abuse. She’s a light for them, in my mind, in particular. And thank “God” for that.
Let me bounce around here because I hate reviews that cover every song. I like developing my own thoughts and meanings and arguing with critics about them. Not only that, most people don’t read long articles and I could talk about this album all day and what it means to me. So-on to “Joyful Motherfuckers.”
“Joyful Motherfuckers” is an expertly performed duet. As a member of a duet, this song makes me jealous. Can you even tell the moment when the piano comes in? Took me a couple listens, it just sneaks in there. When you have arrangement like that, you’re good stuff. She’s a sneaky musician, she gets into your brain at a quiet volume and without repetition. She is at the same time, pulling no punches with the lyrics and hammering the fact that she is indeed living now. Thanks very much. And I’m so happy for her, makes me feel like living too. K
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