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Her major-label debut is littered with songs about class and heartbreak, the vulgarity is intertwined with wit and, most of all, it acknowledges that many Southern ’90s babies spent as much time listening to pop and hip-hop as they did country. It’s a loose concept record about a bride-to-be whose fiancé dies in a car crash en route to the wedding, and all of the misery and healing that follows.
Overcome by nightmarish images of the incident, our heroine decides to go on their honeymoon alone, slowly scaling the stages of grief in the process.
“All the colors of the dark / Of all the colors of the heart / You had left your mark,” the Boston singer remembers on “All the Colors of the Dark,” with the piercing chill of a desolate New England winter.
“Change, change, I got married on a Sunday afternoon,” she continues.
— , is filled with a rare type of solitary songs, honing in on the nuanced relationship we can have with our past lives.The old conception of the self is obliterated from that very first cry, to make way for that new life.It’s a terrifying moment, to gaze into your child’s eyes and know in the root of your being Wordsworth’s adage: “The Child is the father of the Man.” That tumult of fear, mystery, and time lies at the heart of Sturgill Simpson’s adventurous third album, offers no-nonsense advice and down-home imagery, yet still takes more sonic chances than the entire bro-country contingency put together.The plot rises and crashes on Khan’s pristine, often spectral voice, which navigates the ins and outs of heartache and tragedy with a disquieting serenity, as if she’s still waiting at the crash site in her wedding dress, long after her love has gone, embittered and alone.
— On their fourth full-length, Finland’s Oranssi Pazuzu consolidate their claim on the figurative space between atmospheric black metal’s thin air and blackgaze’s celestial strain.
The band’s unerring sense of inertia neatly balances these proggier touches with a steely compositional sense.