head's_bullet wrote:
The only problem is that her decisions are not a win/win case all the time, she favoured one thing and compromised another, my discontent is just about prosody, meter-wise speaking
I understand your point of view. For example, I actually felt the same thing about The Community of Hope with the line "OK, now this is
just drug town,
just zombies but that's
just life": too many
just make it a bit plane for my taste. At times it feels like she
just took these words as spoken by other people and made a song out of it. I guess her aim was to use everyday language in order to keep it as realistic as it can possibly get: admirable, but here and there she sacrificed her excellent skill with words. But I have to say she counter-balanced this just fine with the book, I'm not implying she has lost her craft at all.
Having said that, I find this new album shocking, by turn hopeful and hopeless, moving, bizarre, captivating and beautifully difficult. I'm in love with all the saxophone parts, I utterly love the way it is played with the dirtiness and chaos it brings. I think this is the instrument that above all took the songs to another level.
So far my favorites are River Anacostia, Medicinals and Ministry of Defence, and A Line in the Sand is the strange one that is growing by each listen.