Tag Archives: Madison Palmer

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Album Review: Sharon Jones – Soul of a Woman

Whenever I talk to relatives or family friends about music, I’m often besieged with the common complaint of how “they just don’t make music like they used to.” It’s true that many new genres and subgenres of music have developed over the past several decades, but if people are complaining about the lack of “old-school” music in the modern day, then it’s clear they have not heard about Sharon Jones and the Dap-Kings.

Grammy nominee and subject of acclaimed documentary Miss Sharon Jones!, Sharon Jones had an awe-inspiring career as a soul singer before her tragic death almost exactly one year ago, on November 18th, 2016. Jones and the Dap-Kings released seven studio albums over the course of 17 years, each one encapsulating the raw, Aretha-like authenticity that Jones made a standard in her work. The release of the group’s newest album Soul of a Woman almost exactly one year after Jones’s death is a sad yet significant reminder of the inspirational power possessed by this incredible woman.

Soul of a Woman relates directly back to the title as a reflection of album’s thematic context. The tracks vary in subject matter, ranging from elements of love and break-ups to the importance of hard work and in some cases even religion, yet they demonstrate the day-to-day experience of a modern woman. Every lyric of this album is relatable to a level that is almost uncanny. While listening through this album for the first time, I often found myself believing Jones was singing directly to me about own experiences — something I can honestly say I’ve never experienced before.

The album begins with the strong opening of “Matter of Time,” a song rich with gospel-influenced call-and-response elements. The simple harmonies add invigorating, but not overpowering, dimension to Jones’s dominant voice. The track is upbeat and light-hearted and sets the listener up for what seems to be a fun, bluesy journey. Interestingly though, this is not the case; while many of the earlier songs on the album are upbeat, the tempo goes through a notable downwards trend as the album progresses, with songs becoming more impactful in terms of orchestration, shifting genres from blues to soul to gospel, and finally coming to rest with its inspiring terminus “Call on God” and its optimistic chorus “Call on God/and He’ll carry you through.” It carries the message of Soul of a Woman in a soft yet powerful manner and is the perfect closing to an album about love and loss.

The climax of this album, in my opinion, comes with the second to last track “Girl (You’ve Got To Forgive Him).” Jones takes on the role of an instructive friend: her vocals, laden with intense emotion, are laid over heightened orchestral sound, which will leave this song echoing in the listener’s mind for the rest of the album’s duration.

If you’re looking for an empowering album that perfectly captures the spirit of ’60s and ’70s soul, then this album is a must. Soul of a Woman not only succeeds in proudly carrying the torch of what many incorrectly consider to be a dying genre, but also encompasses the enormous spirit of Sharon Jones herself.

– Review by Madison Palmer
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Album Review: Reptaliens – FM 2030

With the Montreal winter fast approaching, it’s not difficult to find oneself reminiscing about the long-ago September heatwave in addition to the ever-present summer nostalgia that hazes our memory. Who among us doesn’t wish they could perfectly articulate this? The newest album from Portland, Oregon band Reptaliens FM-2030 was released on October 5th and brings a dreamscape aesthetic that draws the listener into this seasonal fantasy with them.

The duo behind the band, husband and wife Cole and Bambi Browning, base their band’s sound in the surreal indie-pop psychedelia that is omnipresent throughout the album’s 35 minute span. As a concept album, FM-2030‘s central theme is concerned with love and obsession, as evident in lyrics such as “If you want to get high/find your love/get it right” from “If You Want” and “Back at his home/told her ‘they’re not alone’/and they gave all their love to the lord” from “Satan’s Song.” It should be noted that in order to experience the full effect, FM-2030 should be listened to in one sitting with no interruptions.

That being said, there are several stand out tracks on this album that deserve an honourable mention, including the vaguely sinister “666Bus,” mainly because of the blunt lyrics “Maybe I’ll get hit by a bus while I was dreamin’ of falling in love/Or maybe I’ll fall in love and die of a broken heart.” “Nunya” has a easygoing, catchy groove to its melody, which echoes in your mind long after the song is over.

As a fan of love-orientated cynicism, this album was a dream come true. The songs all sounded related but not similar enough for them to become boring or repetitive; rather, the tracks faded into each other perfectly with a balanced flow, drawn together cohesively by synths that set the mood for the whole record.

Those unfamiliar with this band’s prior work (especially their 2017 EP Prequel/Olive Boy) it may seem as though FM-2030 is simply be a conglomeration of similar, if not identical, bedroom pop tracks. When listening to the album, however, it becomes clear that there is a significant variance and complexity to each of the 11 songs. The heavy summer-in-suburbia atmosphere is an extended metaphor woven through the album brings much needed warmth to the rainy Montreal weather.

– Review by Madison Palmer