Radical R&B/gospel/noise star Klein hustles an expanded and augmented edition of the enigmatic ‘Frozen’ album, big RIYL Mica Levi, Matana Roberts, Dean Blunt.
Typically, wickedly unpredictable and daring, ‘Frozen’ is another inimitable example of Klein’s iconoclastic Afropunk energy in effect, diffusing a mix of field recordings, samples and uniquely expressive vocals in a sort of slow spiralling inception. It’s speculation on our behalf but ‘Frozen’ - sharing its title with the kids’ blockbuster musical - appears to roll on from her work on ‘Care’, a fantasy musical inspired by Disney princesses and the UK care system, which she directed and scored in 2018. Also taken in context of her new label name, Parkwuud Entertainment management/production company - we can detect her implicitly redressing a balance between overinflated megastar pop culture and Hollywood fictions, and her own wonderfully fractured, grounded but cosmic sort of soul music, with a canny sort of ir/reverence that’s made all her work so captivating and which continues to hold up a shattered mirror of sur/reality to the mainstream’s glossy glare.
Marking five years since her ‘Only’ LP properly refreshed our heads, ‘Frozen’ comes no less uncompromising, turning her hand from underwater shoegaze collage to clattering garage rock scuzz, ambient soul compression, and keening astral elegies, each blessed with a visionary, intuitive finesse. If you’re after theee highlight and key to the set, run to her magisterial bank of organ drones and choral anguish in ‘understand our tracks’ for the best way in. But it really should be taken in the album’s wider context, where it helps bring the curtain down on some of her most beguiling and guess-again musical dramaturgy taking in weightless R&B collage with brittle vocal processing on ‘when jesus say yes, nobody can say no’ and a mean 15 minute piece of metallic guitar and atmospheric noise that splits the difference between Mica Levi and Bill Orcutt, while exclusive new closing shot ‘west end vs warri’ is mutant cherry on the cake.
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Radical R&B/gospel/noise star Klein hustles an expanded and augmented edition of the enigmatic ‘Frozen’ album, big RIYL Mica Levi, Matana Roberts, Dean Blunt.
Typically, wickedly unpredictable and daring, ‘Frozen’ is another inimitable example of Klein’s iconoclastic Afropunk energy in effect, diffusing a mix of field recordings, samples and uniquely expressive vocals in a sort of slow spiralling inception. It’s speculation on our behalf but ‘Frozen’ - sharing its title with the kids’ blockbuster musical - appears to roll on from her work on ‘Care’, a fantasy musical inspired by Disney princesses and the UK care system, which she directed and scored in 2018. Also taken in context of her new label name, Parkwuud Entertainment management/production company - we can detect her implicitly redressing a balance between overinflated megastar pop culture and Hollywood fictions, and her own wonderfully fractured, grounded but cosmic sort of soul music, with a canny sort of ir/reverence that’s made all her work so captivating and which continues to hold up a shattered mirror of sur/reality to the mainstream’s glossy glare.
Marking five years since her ‘Only’ LP properly refreshed our heads, ‘Frozen’ comes no less uncompromising, turning her hand from underwater shoegaze collage to clattering garage rock scuzz, ambient soul compression, and keening astral elegies, each blessed with a visionary, intuitive finesse. If you’re after theee highlight and key to the set, run to her magisterial bank of organ drones and choral anguish in ‘understand our tracks’ for the best way in. But it really should be taken in the album’s wider context, where it helps bring the curtain down on some of her most beguiling and guess-again musical dramaturgy taking in weightless R&B collage with brittle vocal processing on ‘when jesus say yes, nobody can say no’ and a mean 15 minute piece of metallic guitar and atmospheric noise that splits the difference between Mica Levi and Bill Orcutt, while exclusive new closing shot ‘west end vs warri’ is mutant cherry on the cake.
Radical R&B/gospel/noise star Klein hustles an expanded and augmented edition of the enigmatic ‘Frozen’ album, big RIYL Mica Levi, Matana Roberts, Dean Blunt.
Typically, wickedly unpredictable and daring, ‘Frozen’ is another inimitable example of Klein’s iconoclastic Afropunk energy in effect, diffusing a mix of field recordings, samples and uniquely expressive vocals in a sort of slow spiralling inception. It’s speculation on our behalf but ‘Frozen’ - sharing its title with the kids’ blockbuster musical - appears to roll on from her work on ‘Care’, a fantasy musical inspired by Disney princesses and the UK care system, which she directed and scored in 2018. Also taken in context of her new label name, Parkwuud Entertainment management/production company - we can detect her implicitly redressing a balance between overinflated megastar pop culture and Hollywood fictions, and her own wonderfully fractured, grounded but cosmic sort of soul music, with a canny sort of ir/reverence that’s made all her work so captivating and which continues to hold up a shattered mirror of sur/reality to the mainstream’s glossy glare.
Marking five years since her ‘Only’ LP properly refreshed our heads, ‘Frozen’ comes no less uncompromising, turning her hand from underwater shoegaze collage to clattering garage rock scuzz, ambient soul compression, and keening astral elegies, each blessed with a visionary, intuitive finesse. If you’re after theee highlight and key to the set, run to her magisterial bank of organ drones and choral anguish in ‘understand our tracks’ for the best way in. But it really should be taken in the album’s wider context, where it helps bring the curtain down on some of her most beguiling and guess-again musical dramaturgy taking in weightless R&B collage with brittle vocal processing on ‘when jesus say yes, nobody can say no’ and a mean 15 minute piece of metallic guitar and atmospheric noise that splits the difference between Mica Levi and Bill Orcutt, while exclusive new closing shot ‘west end vs warri’ is mutant cherry on the cake.
Radical R&B/gospel/noise star Klein hustles an expanded and augmented edition of the enigmatic ‘Frozen’ album, big RIYL Mica Levi, Matana Roberts, Dean Blunt.
Typically, wickedly unpredictable and daring, ‘Frozen’ is another inimitable example of Klein’s iconoclastic Afropunk energy in effect, diffusing a mix of field recordings, samples and uniquely expressive vocals in a sort of slow spiralling inception. It’s speculation on our behalf but ‘Frozen’ - sharing its title with the kids’ blockbuster musical - appears to roll on from her work on ‘Care’, a fantasy musical inspired by Disney princesses and the UK care system, which she directed and scored in 2018. Also taken in context of her new label name, Parkwuud Entertainment management/production company - we can detect her implicitly redressing a balance between overinflated megastar pop culture and Hollywood fictions, and her own wonderfully fractured, grounded but cosmic sort of soul music, with a canny sort of ir/reverence that’s made all her work so captivating and which continues to hold up a shattered mirror of sur/reality to the mainstream’s glossy glare.
Marking five years since her ‘Only’ LP properly refreshed our heads, ‘Frozen’ comes no less uncompromising, turning her hand from underwater shoegaze collage to clattering garage rock scuzz, ambient soul compression, and keening astral elegies, each blessed with a visionary, intuitive finesse. If you’re after theee highlight and key to the set, run to her magisterial bank of organ drones and choral anguish in ‘understand our tracks’ for the best way in. But it really should be taken in the album’s wider context, where it helps bring the curtain down on some of her most beguiling and guess-again musical dramaturgy taking in weightless R&B collage with brittle vocal processing on ‘when jesus say yes, nobody can say no’ and a mean 15 minute piece of metallic guitar and atmospheric noise that splits the difference between Mica Levi and Bill Orcutt, while exclusive new closing shot ‘west end vs warri’ is mutant cherry on the cake.