Joan As Police Woman Damned Devotion

Joan As Police Woman — Damned Devotion (Feb 9th 2018)

 Joan As Police Woman — Damned Devotion (Feb 9th 2018)  Joan As Police Woman — Damned Devotion (Feb 9th 2018)?↑?         Toto je klasická kolizní teorie těla. Království konfliktu zákonů je v hluboké bažině, plné potřeštěných bláznů a oplývá učenými, ale excentrickými profesory, kteří teoretizují tajemné záležitosti v podivném a nepochopitelném žargonu. Obecný soud nebo advokát je docela ztracen, když je do toho soukolí zapleten a širokou papulí pohlcen. Široká škála projektů, na nichž se Joan Wasser podílela od svého studia na Bostonské univerzitě počátkem devadesátých let, je svědectvím hudebních vizí. Hrát na housle začala v městském symfonickém orchestru, v průběhu let byla také členem několika rockových kapel v periodě, která se datuje k pozdnímu a velkému období Jeffa Buckleyho. Toto čerstvé album není úplně nejvíc, co umí. Ale zatímco Damned Devotion není to album ‘Policejní ženy’ určené k co nejvíce ‘zatčených’ fans, přesto je album solidní ukázkou umělkyně, která má vždycky co říct. Hektické perkuse jsou rozhodně moderní. Abstraktní a křupavé beaty tvoří páteř alba, které ztělesňuje konfrontaci, konflikt a ztrátu. Láska zde sice převládá, ale snadné vítězství to není. V úvodním manifestu Wonderful se ptá: budu muset bojovat, abych to překonala? Mezitím křiklavé perkuse v jinak hedvábné Valid Jagger a I Do not Mind vnímám jako jizvy po bitvě.  To je nejsilnější hudební moment díky svému Nordu, Rhodes pianu a organu. Podobně v Silly Me klávesy dávají zapomenout i na Patricka Moraze nebo Ricka Wakemana v Šesti ženách Henryho VIII. Jako vždy, i zde je Wasser skladatelkou, která se nebojí zabývat tvrdou prací partnerských vztahů. Umístila základy pro komunikaci na toto téma v Tell Me a zkoumá politickou stránku hraničních problémů v The Silence, která vrcholí zuřivým voláním Moje tělo / Můj výběr / Jejich tělo / Jejich volba. Mistrovský způsob, jakým se Joan vyrovnává s náročnými momenty, jako jsou tyto, dělá z Damned Devotion jedním z nejkompletnějších a nejodvážnějších portrétů svého umění. Sought~after multi~instrumentalist strikes out with her own, semi~eponymous pop~folk project.
Birth name: Joan Wasser
Born: July 26, 1970, Saint Andre, Biddeford, Maine
Origin: Norwalk, Connecticut, United States
Instruments: Vocals, violin, guitar, piano
Genre: Indie, Alternative, Singer~Songwriter
Location: Brooklyn, New York
Label: Reveal Records
Album release: Feb 9th 2018
Record Label: Play It Again Sam
Duration:     43:14
Tracks:
01. Wonderful     3:34
02. Warning Bell     3:17
03. Tell Me     3:37
04. Steed (for Jean Genet)     4:08
05. Damned Devotion     3:13
06. The Silence     4:42
07. Valid Jagger     3:28
08. Rely On     2:43
09. What Was It Like     4:12
10. Talk About It Later     2:36
11. Silly Me     3:38
12. I Don’t Mind     4:06
Description:
?♣?     “Words mean different things to different people and it’s important to me to allow the listener to have images of their own. That being said, the weather cooperated with us that night — rain and moisture in the air has always made me thoughtful. We wanted to capture the mystery of New York City while driving through Chinatown and parts of Brooklyn that hold deep meaning for me.” (Joan)
?♣?     JOAN AS POLICE WOMAN returns with a new album, Damned Devotion, and it’s her best yet. 
?♣?     Already acknowledged as a thrilling live performer and starkly honest lyricist, Damned Devotion finds Joan Wasser at her rawest. While her 2014 album The Classic was a soulful celebration of life and her 2011 album The Deep Field a lush moody expansion, this new release sees her stripping her compositions back to the core, the bare~all lyricism and timeless melodies harking back to her accolade-winning album To Survive (2008) and the universally acclaimed debut album Real Life (2006). Joan: “My maxim is: if it feels scary to say it, it’s the thing you must say”. And on Damned Devotion the thoughtful lyricism is married to Joan’s most accessible music to date.
?♣?     The first track to be shared from the album is Warning Bell, a tender, bewitching song of regret Joan wrote about “being a romantic and the naiveté that goes along with it.”
?♣?     Famously a collaborator and muse to artists as diverse as Anohni, Rufus Wainwright, Lou Reed and Beck, since the release of her last album Joan has worked alongside fashion designers Viktor & Rolf as well as a growing list of musicians including Sufjan Stevens, Lau, RZA and most recently Daniel Johnston.
?♣?     “I say yes to almost everything,” she admits. “I just want to be making music all the time. I can comfortably say that music has saved my life and continues to save my life. I am a devotee. It’s not something I can even choose or not choose, it’s just what is.”… Damned Devotion
Praise for Joan As Police Woman:
?♣?     The Times — ‘The coolest woman in pop’
?♣?     Uncut — ‘This is breathtakingly good music'
?♣?     Mojo — ‘Full of meditative beauty…ravishing and lovelorn’
?♣?     Sunday Times — ‘Sensational’
?♣?     The Guardian — ‘A voice so wondrous and moving that it makes everyone else’s seem ordinary and mundane’.
Review
By Abigail Evans / 08 FEBRUARY 2018, 11:30 GMT / Score: 8
♦δ♦       Joan As Police Woman’s Damned Devotion is a brilliant self help tome.
♦δ♦       For Damned Devotion, Joan Wasser has taken a humanistic approach, interacting with people to inform the creative process and content of an album in search of answers to a “subject I’ve been tangling with all my life: how does one live a devoted life without becoming obsessed or losing one’s mind?”.
♦δ♦       Using her extensive music vocabulary, Wasser — aka Joan As Police Woman — calls upon the great Leonard Cohen for the track “Silence” — “and I’m told that wounds are where the light gets in” referencing his infamous lyric to inform her own mantra for dealing with the pains of devotion.
♦δ♦       Wasser also draws from her musical contemporaries, employing a new creative process in the writing of her latest release, “manipulating (drummer) Parker Kindred’s live beats as templates for new songs.” Starting from her band mates’ drum beats as a basis for tracks, it’s clear that Wasser is a collaborator at heart, utilising the people around her to help fathom greater things. She says other people “always bring something else that you wouldn’t make yourself”. ***
♦δ♦       Standout track “Tell Me” is a cry for transparency from her partner and the continual questioning of “Tell me, tell me, tell me / what, what, what do you want” is ironically cathartic. Music for Wasser is therapy, telling the BBC that “whenever I’ve been in the most amount of pain, music has allowed me to further feel my feelings, which always helps to move through them and then has also given me hope.”
♦δ♦       Romantically confused, Wasser has drawn strength, inspiration and guidance from people through music to better understand relationships on this album. Damned Devotion is a brilliant self~help resource.   ♦δ♦       https://www.thelineofbestfit.com/
Also:
By Chris White | first published: 5 Feb 2018 |  Score: ***½
♦δ♦       The sheer range of projects Joan Wasser has been involved with since studying at Boston University in the early 1990s bears testament to her musical vision. Having started out playing violin in the city’s symphony orchestra, she was also a member of several rock bands in a period during which she also dated the late, great Jeff Buckley.
♦δ♦       By 2002 she was recording her own songs under the name Joan As Police Woman, and has gone on to release five studio albums, while at the same time working as a violinist for hire with artists as diverse as Sheryl Crow, Rufus Wainwright and Antony And The Johnsons.
♦δ♦       She’s also developed a passion for African music, travelling to Ethiopia to work on Damon Albarn‘s Africa Express project. Since the release of her last album — 2016’s collaboration with Benjamin Lazar Davis, Let It Be You — alone, Joan has worked alongside fashion designers Viktor & Rolf as well as a list of musicians including Sufjan Stevens, RZA and most recently Daniel Johnston. As the singer herself admits, “I say yes to almost everything.”
♦δ♦       Over her career, Joan has developed a sound not dissimilar to fellow Americans Cat Power and St Vincent, albeit slightly poppier than the former and less wilfully strange than the latter. While Let It Be You was an unexpected tangent into the rhythms of the pygmy music of the Central African Republic, generally speaking her music has become fuller and more expansive over the years, with the simple, confessional angst of her 2006 debut Real Life evolving into the lusher, more soulful timbres of later records like 2014’s The Classic. Damned Devotion finds Joan stripping her compositions back once again to something closer to her earlier work, although the musical backdrop lacks the organic fragility of Real Life, which it seems may have gone forever from her sound.
♦δ♦       The single Warning Bell offered a solid benchmark for the album that follows: replete with as starkly honest storytelling as ever with its tale of romantic regret; stripped back, yes, but still with a hefty dollop of soul, and featuring electronic textures and beats rather than ‘real’ instruments. These elements predominate throughout Damned Devotion, whether it’s the echoing vocals and R&B swing of Tell Me, the discordant, dysfunctional Rely On, or opening track Wonderful’s languid, smoky croon.
♦δ♦       There are nuances, too: the title track’s soaring, ethereal chorus is the closest Joan gets to St Vincent’s arthouse anthemics, and The Silence’s aggressive chanting and scabrous synths, which carry a hint of Siouxsie And The Banshees. The album peaks with the elegantly chilly Valid Jogger, in which Joan implores “sing, don’t lie to me” above a gently oscillating electric piano and skittering percussion.
♦δ♦       Lyrically, she remains a distinctive voice, with lines like Warning Bell’s “Even in the water/ you are so soft in the corner/ soft where you shouldn’t be/ and I just died for it every time” typifying her gift for original, vulnerable, slightly unsettling imagery. ♦δ♦       Where Damned Devotion falls a little short is in the quality of its tunes, with some tracks lacking zest and winning hooks — the Dido~like blandness of What Was It Like is particularly culpable. But while Damned Devotion is not the Police Woman at her most arresting, it is nevertheless a solid showing from a performer who always has plenty to say.   ♦δ♦       https://www.musicomh.com/
Website: http://joanaspolicewoman.com/  //  Label: https://www.pias.com/
Bandcamp: https://joan-as-policewoman.bandcamp.com/album/damned-devotion
Twitter: https://twitter.com/JOANPOLICEWOMAN
Facebook: https://www.facebook.com/joanaspolicewoman
Reveal Records: http://revealrecords.co.uk/artists/joan-as-police-woman/
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Joan As Police Woman Damned Devotion

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The Tiger Lillies — Cold Night in Soho (10 Feb. 2017)
The Tiger Lillies — Edgar Allan Poe’s Haunted Palace
Sarah Jarosz — World On The Ground (June 5, 2020)
Kate Amrine — This Is My Letter to the World (Jan. 24, 2020)
Fiona Apple — Fetch The Bolt Cutters (17 Apr., 2020)
The Tiger Lillies — Covid~19 (April 10, 2020)
Veneer — Recovery (April 15, 2020)
Siobhan Wilson — The Departure (10 May, 2019)
BC Camplight — Shortly After Takeoff (24 April 2020)
Siobhan Wilson — There Are No Saints (14 Jul, 2017)
Brendan Benson — Dear Life (April 24, 2020)
Ali Holder — Uncomfortable Truths (April 10, 2020)
From Atomic — Deliverance (April 2020)
Whyte Horses — Hard Times (17th of Jan., 2020)
Gerald Cleaver — Signs (March 27, 2020)
Sophie Tassignon — Mysteries Unfold (April 24, 2020)
HOUPACÍ KONĚ: SOULKOSTEL 8 11 2019 (April 25, 2020)
Sarah Longfield — Dusk (April 22, 2020)
Ariel Pink — House Arrest (2002/Mar 2011/April 24, 2020)
All The Best, Isaac Hayes (A Spoken Word Album)
Prophecy Playground — Comfort Zone (Feb. 15, 2020)
Mark Lanegan — Straight Songs Of Sorrow (8th May, 2020)
Genesis Revisited: Live at The Royal Albert Hall — 2020 Remaster
Joan As Police Woman — Cover Two (May 1, 2020)
Kuře v hodinkách — Flamengo
Kuře v hodinkách — Flamengo
Devon Williams — A Tear in the Fabric (May 1, 2020)
Johanna Warren — Chaotic Good (May 1, 2020)
emozpěv — Spolu (1st May 2020)
THE LEAGUE OF ASSHOLES — UNPLUGGED (1st May 2020)
Morgan1
Zuzana Mikulcová — Slová
The Fratellis — Half Drunk Under A Full Moon (8th May, 2020)
The Fratellis — Half Drunk Under A Full Moon (8th May, 2020)
Cocteau Twins — Victorialand (April, 1986, Reissue 2020)
Coloured Clocks — Flora (May 2, 2020)
I Break Horses — Warnings (08 May 2020)
Hawkwind — Acoustic Daze (25 Oct. 2019)
Indoor Voices — Animal (Feb. 14, 2020)
I Break Horses — Chiaroscuro
Einstürzende Neubauten — Alles In Allem (May 29th, 2020)
100 Gecs — 1000 gecs (May 31, 2019)
Evergreen — Overseas (15 Jun 2018)
Kurt Rosenwinkel Trio — Angels Around (May 8, 2020)
The Feather — Room (10 July, 2020)
Eyvind Kang — Ajaeng Ajaeng (May 1, 2020)
Eyvind Kang — Ajaeng Ajaeng (May 1, 2020)
Kaitlyn Aurelia Smith — The Mosaic of Transformation (May 15, 20
Kaitlyn Aurelia Smith — The Kid (October 6, 2017)
Mr. Alec Bowman — I Used to Be Sad & Then I Forgot (May 1, 2020)
György Ligeti — Lontano (22. Oct.,1967)
OWEN PALLETT — Heartland (March 3, 2014)
Badly Drawn Boy — Banana Skin Shoes (22nd May, 2020)
A.O. Gerber — Another Place to Need (May 22, 2020)
Kaleidoscope — Faintly Blowing (11 April 1969, Reissue, Remaster
Perfume Genius — Set My Heart On Fire Immediately (15th May 2020
Perfume Genius — No Shape (5 May, 2017) BC
Perfume Genius — No Shape (5 May, 2017) FC
Sungazers — Wasting Space (May 18, 2020)
Cermaque — Lament (22nd May, 2020)
Mountaineer — Bloodletting (May 22nd, 2020)
Jetstream Pony — Jetstream Pony (May 22, 2020)
Steve Earle — Townes (May 8, 2009)
Steve Earle & The Dukes — Ghosts of West Virginia (May 22, 2020)
Sixth June ‎— Trust (17 Jan 2020)
White Tail Falls — Age of Entitlement (May 29, 2020)
Weyes Blood — “Wild Time” from Titanic Rising
Nicole Atkins — Italian Ice (29 May 2020)
Deerhoof — Future Teenage Cave Artists (May 29, 2020)
Deradoorian — Find the Sun (Sept. 18, 2020)
Bob Dylan — Rough and Rowdy Ways (June 19th, 2020)
The Magnetic Fields — QUICKIES VINYL BOX SET (June 19, 2020)
The Magnetic Fields — QUICKIES VINYL BOX SET (June 19, 2020)
This Will Destroy You — Vespertine (June 9, 2020)
Jake Blount — Spider Tales (May 29, 2020)
Jake Blount — Spider Tales (May 29, 2020)
Yoko Ono, Kim Gordon & Thurston Moore — YOKOKIMTHURSTON
Psychic Markers — Psychic Markers (29 May, 2020)
The Memories — Pickles & Pies (May 29, 2020)
Songs for the Late Night Drive Home (Feb. 5, 2016)
Spc Eco — Dark Matter (Nov. 20, 2015)
SPC ECO — June (June 1, 2020)
Yves Tumor — Heaven to a Tortured Mind (April 3, 2020)
Norah Jones — Pick Me Up Off the Floor (June 12th, 2020)
Larkin Poe — Self Made Man (June 12th, 2020)
Ezra Furman — Sex Education [Original Soundtrack] (April 24, 202
Endless Field — Alive in the Wilderness (June 12, 2020)
Wesley Gonzalez — Appalling Human (June 12, 2020)
Noveller — Arrow (June 12, 2020)
Kim Myhr & Australian Art Orchestra — Vesper (17.04. 2020)
Kim Myhr & Australian Art Orchestra — Vesper (17.04. 2020)
Andrej Šeban — Triplet (March 22, 2019) inner cover
Andrej Šeban — Triplet (March 22, 2019) cover
The Crossing & Donald Nally — James Primosch: Carthage (05/2020)
Jerskin Fendrix — Winterreise (April 17, 2020)
Zoongideewin — Bleached Wavves (June 19, 2020)
ULRICH SCHNAUSS — A Long Way To Fall — Rebound (3rd April, 2020)
Sports Team — Deep Down Happy (5th June, 2020)
Wrekmeister Harmonies — We Love to Look at the Car (2020)
Midlake — Antiphon (Nov. 4, 2013)
ANASTASIA MINSTER — Father ©Michael Haley
Jessie Ware — Glasshouse (Deluxe; 20 Oct 2017)
Teen Daze — Morning World
Jessie Ware — What’s Your Pleasure (June 26, 2020)
Art Feynman — Half Price At 3:30 (June 26th, 2020)
Bo Ningen — Sudden Fictions (26th June, 2020)
Khruangbin — Mordechai (June 26, 2020)
Pottery — Welcome to Bobby’s Motel (June 26th, 2020)
Orlando Weeks — A Quickening (June 12, 2020)
John Craigie — Asterisk the Universe (June 12, 2020)
Kavus Torabi — Hip to the Jag (May 22, 2020)
Nadine Shah — Kitchen Sink (June 5, 2020)
Paul Weller — On Sunset [Deluxe Edition] (3rd July, 2020)
Corb Lund — Agricultural Tragic (June 26, 2020)
Christine Ott — Chimères (pour ondes Martenot) (May 22, 2020)
The Beths — Jump Rope Gazers (July 10th, 2020)
Ashley Paul — Window Flower (May 13, 2020)
Grey Daze — Amends [Deluxe Edition] (July 3, 2020)
Grey Daze ©Photo credit: Anjella / Sakiphotography
Ajimal — As It Grows Dark / Light (June 26, 2020)
Ajimal — As It Grows Dark Light (June 26, 2020)
Eleanor Friedberger — Rebound (May 4th, 2018)
ELEANOR FRIEDBERGER — NEW VIEW (January 22, 2016)
Immigrant Union — Judas (June 19, 2020)
Julianna Barwick — Healing Is a Miracle [Japan Edition] (2020)
Neil Young & Crazy Horse — Colorado (Oct. 25, 2019)
Neil Young — Homegrown (19th June, 2020)
The Jayhawks — XOXO (July 10, 2020)
Joy Division — Closer (40th Anniversary) [2020 Digital Master] (
Daniel Bachman — The Morning Star (July 27, 2018)
Daniel Bachman — Green Alum Springs (June 6, 2020)
Becca Mancari — The Greatest Part (June 26, 2020)
Ytamo — Vacant (June 12, 2020)
Bright Eyes — Down In The Weeds, Where The World Once Was (Aug.
Thin Lear — Wooden Cave (24th July, 2020)
Devendra Banhart — Vast Ovoid (July 24, 2020)
Cub Sport — LIKE NIRVANA (24 July, 2020)
Sara Serpa — Recognition (June 5th, 2020)
Sara Serpa, Ingrid Laubrock, Erik Friedlander — Close Up (2018)
Klara Lewis — Ingrid (1st May 2020)
Buju Banton — Upside Down (June 26, 2020)
Son Lux — Learning Structures vol. 1~4 (Oct. 11th, 2019)
learning structures, vol. 3 distance between us (Oct. 11, 2019)
learning structures, vol. 2: end firma
learning structures, vol. 3: distance between us
The Boomtown Rats — Citizens of Boomtown (13 March, 2020)
Ralph of London — The Potato Kingdom (19th June, 2020)
Mike Polizze — Long Lost Solace Find (July 31, 2020)
Land of Talk — Indistinct Conversations (July 31, 2020)