THE MORNING LIST
This week we offer you six albums and a box set appreciated and reviewed by critics in the music section of the World, and marketed at the end of August and during the month of September. In chronological order of release: Australian Nick Cave’s eighteenth album; an a cappella recital by soprano Anne Warthmann; the nine compositions from the new album by guitarist David Gilmour (Pink Floyd); the 50smy anniversary of the commercialization of‘Apostrophe (‘) by Frank Zappa; the rapper’s second album, Gringe; the new poetic ballad of the Angevin quintet Lo’Jo; the magnificent collection of British saxophonist and composer Nubya García.
“Wild God”: a lush and hopeful album by Nick Cave & The Bad Seeds
When his eighteenth album is released, rock preacher Nick Cave, 66, arouses admiration for his exceptional resilience. However, family tragedies have not spared him in recent years, after the successive deaths of his mother and two of his children. With wild god, the Australian offers ten broad and grandiose songs, dominated mainly by string arrangements. The choice of producer Dave Fridmann, a master in the field of lush orchestrations (Mercury Rev, Flaming Lips), is not the result of chance. The result can be heard from the first track, Lake Songthen in Happiness AND wild godthe latter dragged by a whirlwind of Ennio Morricone-style choruses. More intimate walks Final rescue attempt AND Conversion They are part of the albums extension skeleton tree EITHER ghost.
And although some ghosts still wander O Wow O Wow (How wonderful she is)A moving tribute to Anita Lane (1960-2021), former companion and muse of the 1970s and 1980s, the music is deliberately light and peaceful. With this successful transition album, the gothic singer confirms that he is one of the few musicians of his generation who offers a renewed and relevant repertoire. PC
PIAS (published August 30).
“In a dream. Solovoice 1”: the winning bet of soprano Anne Warthmann
Nineteen pieces (most of them two or three minutes long), fifteen composers (including some well-known names), a recital entirely a cappella… Anne Warthmann’s bet was risky. he is won, “strong voice”. Devoid of instrumental support (with the exception of some accessories such as the kalimba, which plays the exotic song guides in melismasby Graciane Finzi), the voice is not suspended in a vacuum nor condemned to float in space. It constitutes a vast planet where multiple musical species thrive. It has a charming tendency (Descent of the starsby Eric Tanguy) or introspective (Onlyby Morton Feldman). At ease in all registers, Anne Warthmann also serves pure poetry (the very suggestive Two songs at nightby Betsy Jolas) than musical theater (theAlphabetby Jean-Christophe Rosaz). However, it is with Thierry Pécou that he seems to have the most affinities. The monologues (in a dream, Eurydice, Tess laments) then transforms beautifully into gentle madness and creative delirium. P.Gi
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