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Let it be clear: St. Vincent’s production role in Sleater-Kinneys 2019 The Center Wont Hold had little to do with their new electro-pop sound, or drummer Janet Weiss’ decision to leave. . Their latest self-produced album, Path of Wellness (Mom + Pop), designed by Adam Lee, finds Carrie Brownstein and Corin Tucker expanding their new electronic styles as a duet, but with a harsher beat. You can almost hear the echoes of the band’s loudest albums at the turn of the millennium, but with more introspection that sometimes dilutes their power.
The opening title track deliberately puts the drums front and center, while No Knives almost flaunts the idea that they only need studio drummers. Brownstein uses his film and performance art expertise to come up with clever arrangements. Tucker, on the other hand, has proven in solo albums and working with Filthy Friends that she can sing virtually anything, as the first verse of High in the Grass shows. It’s a shame they have to stress their legitimacy as strong, party-oriented rockers. But when you’re in your mid-forties, it’s silly to pretend you’re still the same punks you were when you were 20.
Also new and remarkable
Alternative Communication, The Three Bodies Problem (Bandcamp / sr) – Janette and Brian Kidd reunite with former collaborator / guitarist / keyboardist David Reid in this trio with roots in 1980s progressive rock. Most of this album was composed , recorded and mixed during the pandemic. Their style sublimely combines the melodic progressive electronica, signature of the Kidds, with a delicately dissonant tension evoking the Red-period King Crimson. The agility to change shape is demonstrated by the opening single World on Fire, with the beautiful vocals of Janettes, followed by the precision and majesty of the Psychotomy instrument.
Azure Ray, Remedy (Flower Moon Records) Southern experimental singers Maria Taylor and Orenda Fink both have solo careers, but their occasional collaboration as Azure Ray is regularly awaited by fans. It’s been over a decade since Drawing Down the Moon, but their ability to merge two distinct vocal styles in Phantom Lover and I Dont Want To Want To, indicates they haven’t missed a beat.
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