Women Soloists Turn Out Must-have Sequels
Eleanor Friedberger — ‘Rebound’
The Good: Former (assuming the group has actually broken up) Fiery Furnaces frontwoman Eleanor Friedberger releases her fourth solo outing.
The Bad: Nah.
The Nitty Gritty: Friedberger wrote the record in Greece, where she currently resides, and named the album after a favorite hometown club. Stylistically, it’s a throwback to the gothic and romantic new wave records of the 1980s, with her echoing singers such as Alison Moyet, Shakespeare’s Sister and Tracey Thorn (found elsewhere on this page if you feel like checking out TWO new albums this week). “Rebound” is soulful indie pop built on electronics with just the slightest hint of jazzy overtones.
Not every song is a gem, but the album works incredibly well as a whole, as Friedberger bounces around among tempos and moods. You can casually drink in bubbly, mid-tempo stuff such as “The Letter” and “Everything” or groove to slightly more “down” tracks such as “Nice to be Nowhere.” Not a bad day at the beach or night at the bar.
Buy It?: Surely.
Tracey Thorn — ‘Record’
The Good: English singer/songwriter and ex-Everything but the Girl vocalist Tracey Thorn comes back with a strong fifth solo set.
The Bad: Nothing.
The Nitty Gritty: Thorn’s past solo stuff is good, but “Record” is truly GREAT. She offers up a feminist album that finds the 55-year-old redefining her place in the world. She’s been a daughter, wife, mother and creative force and now remains tough as nails. When she sings, “And I fight like a girl,” you should feel genuinely threatened.
Musically, “Record” recalls the last couple of EBTG sets in spirit, with those beat-heavy albums that found the pair switching gears from indie jazz/pop to house music immediately after the Todd Terry remix of “Missing” set worldwide charts ablaze. “Queen” and “Dancefloor” recall New Order at its absolute peak. The extended “Sister” rides a rock-solid LCD Soundsystem-like funk. Big rhythms still intact, “Guitar” and “Babies” don’t shy away from melodic pop overtones.
The entire affair is intoxicating. “Record” is some of Thorn’s best work EVER.
Buy It?: Yes.
Natalie Prass — ‘The Future and the Past’
The Good: American singer/songwriter Natalie Prass gets tougher on her second.
The Bad: No gripes. However, expect more deep grooves and blue-eyed soul this time. Hey, that’s not bad.
The Nitty Gritty: The album’s title hails from the lyrics of “Hot for the Mountain,” an anthem for feminists, the oppressed, the bullied or whoever really needs it — “No we don’t hold back/Break down the door/We’ll beat a path.”
That’s the vibe spread over the entire album, yet another semi-politicized set written in the shadow of the 2016 presidential election. Don’t be fooled by Prass’ somewhat gentle vocal delivery. She’s mad, determined and not giving up.
Yet, she realizes you can’t be uptight all the time; one also needs to kick back and let loose. So, “The Future” also is a mostly upbeat affair, featuring tight indie pop with big, fat basslines and dedicated beats sneaking into the mix beneath the slick guitars and warm pianos. It’s a righteous blend.
Buy It?: Sure.
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