Ever since I embarked on this music-criticism journey some five years ago, it's always been a personal mission of mine to be as diverse as possible when it comes to the albums I choose to review. While I'd like to think that mainstream and independent/left-field artists are equally given a chance to shine in this column, there's still a whole world of music out there that needs its due recognition. Which brings me to drummer-turned-piano virtuoso Eiko Ishibashi, a celebrated Japanese musician who, thanks to US-based label Drag City, is getting her releases outside of her native Japan.
Her latest outing and sixth solo LP, The Dreams My Bones Dream, is once again a collaboration with frequent Chicago-born, Tokyo-based producer Jim O'Rourke. Dubbed "a travelogue pointed towards a time hopefully better than the future we see coming down the line", the follow-up to 2014's Car And Freezer sees Ishibashi looking back at her ancestors' unbeknownst past through layers of feather-light jazz, pensive electronics, and a propensity for symphonics.
Starting with the jarringly majestic opener Prologue: Hands On The Mouth, the record finds its sweet spot by oscillating between cinematic and intimate. Through militaristic drumming, roaring brass and field recordings of trains, tracks like Agloe, Iron Veil and A Ghost In A Train, Thinking could be taken as allusions to her grandfather's role during the Japanese occupation of China's Manchurian region in 1931.
The expansive title track offers a bit of a respite with soaring strings, giving nod to Ishibashi's deft hands at crafting an emotive score. Continuing the travel motif, Tunnels To Nowhere is the most menacing of the lot. And if this track symbolises darkness, To The East and closer Epilogue: Innisfree would then represent the light at the end of the tunnel.
Memorable moments: When Ishibashi's vocals come to the fore on the sparse title track. Not only is it truly stunning, but it also highlights her as a highly versatile artist.
The verdict: Despite the obvious language barrier, The Dreams My Bones Dream is universal in its cinematic gorgeousness and sonic experimentation.
Listen to this: Prologue: Hands On The Mouth, Iron Veil, Tunnels To Nowhere.
THE PLAYLIST
Ten Layers of Air / Parallel World
Ten Layers of Air is a Bangkok-based duo made up of singer/songwriter Sirata "Plubploy" Nitipanont and DJ/producer Chote. Signed to forward-thinking electronic label Comet Records BKK, the emerging pair explore the realm of chill electronica and moody downtempo with help from their go-to guitarist Isra "Bental" Sriyai. Their new offering, Parallel Word, a follow-up to last year's equally stellar singles I Won't Drown and Children On Magical Carpet, picks up where they left off with hazy synth melodies, percussive elements and askew guitar chords. "I wonder if someday we would cross/ It gives me a little light/ Gives me a little hope/ Maybe I want to live," croons Pubploy in her signature glacial vocals, adding the otherworldly quality to the track's multiverse narrative. Although the whole thing is still a little rough around the edges, the potential of Ten Layers of Air is definitely worth keeping an eye out for.
Backstreet Boys / No Place
"I've been to Paris, made my way down to Rome … But I could care less, 'cause I was all alone," Brian Littrell sings in the opening of The Backstreet Boys' latest cut, No Place. The song, set to breezy acoustic guitars and obligatory finger snaps, finds the former boys/now grown men pining after domestic bliss instead of a jet-set lifestyle because, at the end of the day, families are what matter the most ("I've been all around the world, done all there is to do/ But you'll always be the home I wanna come home to"). The track follows last year's Chances and Don't Go Breaking My Heart, both set to appear on the group's ninth studio effort, DNA.
Cigarettes After Sex / Neon Moon
When Cigarettes After Sex dropped their 2012 EP I., everybody was thrilled about the sexually charged tenderness that their brand of dream pop offered. Hearing a group of three guys singing so fondly about love and sex over a weightless, downbeat production was special for a while until you realised that that is all they do. It's 2019 and the magic of Cigarettes After Sex has unfortunately died down, which explains why their cover of Brooks and Dunn's 1992 hit Neon Moon is nothing to write home about. In fact, the original is much, much more exciting to listen to -- and that comes from someone who's not even a fan of country music.
Sting / Brand New Day (2019 Version)
For this brand new year, Sting gives the title track of his eponymous 1999 album a brand new update. Having debuted on the Times Square stage as part of Fox's New Year's Eve show, the new version boasts a tighter, snappier arrangement without sacrificing the iconic harmonica part. "Why don't we turn the clock to zero, honey?/ I'll sell the stock, we'll spend all the money," the English singer-songwriter suggests gleefully. "Turn the clock to zero, boss/ The river's wide, we'll swim across/ Started up a brand new day."
Post Malone / Wow
Although his latest album, Beerbongs & Bentleys, only just came out in April last year, it looks like Post Malone is already prepping for his forthcoming third LP with new material. Released in succession to the Swae Lee-featured Sunflower, the lead single from the Spider-Man: Into The Spider-Verse soundtrack, Wow doesn't veer too far off from the established Posty styling. And with that said, expect laid-back braggadocio as he runs a checklist of 90s rappers (Lil' Troy), fancy vehicles (G-Wagen), wads of cash, and how "your grandmama probably know" him.
