In the end, she wal ks down the stairs from the 101st flo or. Each flo or has a numb er and each numb er suggests a fe e ling or an image to her : eight y nine bul l ets, for ty six human chromos o mes, twenty two guitars…It ’s like a sk ipping rhyme she r e ci tes as she des c ends.
But the pi c tures painted by words and numb ers, ev en the melo di es themse lv es, a re all pa rt of a larger s oundsc ape. Ther e’s a shifting soundt rack to al l these stories, diff e r ent moods, like the diff e r ent q u a li t ies of light and colour. The funky be at of “Suga r Mama” s e ts up i ts oddba l l s tor y.
The gentl e, acoust i c beauty of “Al l the Beaut i ful Girls” is reminisc ent of something from Not Going Anywher e. “You We re on Fir e” bui lds and bui lds, adds lay er aft e r l ay e r, from its acoust i c b e ginnings to strings and a ghostly choir. Ether e a l ke y b o a rds, strings and echoing choirs reach a chil ling cres c endo in “S t r a nge We athe r.” The re is be a u t ifu l mel ancholy her e, in the s tories haunt ed by loss, hea r tbr e ak and long ing, but there is also hope .
There is also a new energ y, a broader range, a
s ense of new g round
broken. The voi ce reaches out mor e, but Ke r en Ann r e tains her enigmat i c q u a li t y, her intimat e b ond with the list ener, and the vignet tes st i l l my s t if y as much as the y i l luminat e. Nothing is s acrif i c ed.
Ul timat ely 101 emb o di es what Ke r en Ann`s musi c is
a l l ab out: the s ongs,
the voi c e, the sound. -Pe t er Robins on
Photo by Amit Israeli
Page 1 |
Page 2 |
Page 3 |
Page 4 |
Page 5 |
Page 6 |
Page 7 |
Page 8 |
Page 9 |
Page 10 |
Page 11 |
Page 12 |
Page 13 |
Page 14 |
Page 15 |
Page 16 |
Page 17 |
Page 18 |
Page 19 |
Page 20 |
Page 21 |
Page 22 |
Page 23 |
Page 24 |
Page 25 |
Page 26 |
Page 27 |
Page 28 |
Page 29 |
Page 30 |
Page 31 |
Page 32 |
Page 33 |
Page 34 |
Page 35 |
Page 36 |
Page 37 |
Page 38 |
Page 39 |
Page 40 |
Page 41 |
Page 42 |
Page 43 |
Page 44 |
Page 45 |
Page 46 |
Page 47 |
Page 48 |
Page 49 |
Page 50 |
Page 51 |
Page 52 |
Page 53 |
Page 54 |
Page 55 |
Page 56 |
Page 57 |
Page 58 |
Page 59 |
Page 60 |
Page 61 |
Page 62 |
Page 63 |
Page 64 |
Page 65 |
Page 66 |
Page 67 |
Page 68 |
Page 69 |
Page 70 |
Page 71 |
Page 72 |
Page 73 |
Page 74 |
Page 75 |
Page 76 |
Page 77 |
Page 78 |
Page 79 |
Page 80 |
Page 81 |
Page 82 |
Page 83 |
Page 84 |
Page 85 |
Page 86 |
Page 87 |
Page 88 |
Page 89 |
Page 90 |
Page 91 |
Page 92 |
Page 93 |
Page 94 |
Page 95 |
Page 96 |
Page 97 |
Page 98 |
Page 99 |
Page 100 |
Page 101 |
Page 102 |
Page 103 |
Page 104