It’s been a while since I’ve posted a set list from one of my radio shows. I’m sorely lacking in this department. I played a recap of Levitation France 2022 last Sunday after playing a two-hour Deep Dive of Depeche Mode. Here’s the set list from n=my Nocturne show.
Recorded entirely in her Bethnall Green flat, Lu.Re‘s Ruminate EP is a five-song exploration into obsessive compulsive disorder mixing house beats with viola and heartbreak.
“Hold On” has Lu.Re singing encouragement to a lover she doesn’t want to lose (“I know you want to make it better, baby. Hold on to me.”), possibly while they’re on the dance floor (or anywhere else, really) judging from the wicked beats she lays on the track. “These Days” continues the theme of looming heartbreak (“All you need to know is that we can bring it back to these days.”) as Lu.Re uses her break-beats to reflect the popping and locking thoughts in her head.
There are two versions of the title track, and the first is “Ruminate 2 Step.” Its beats are so peppy that you can barely keep up with them as Lu.Re sings, “I need someone to settle my mind.” The song ruminates on rumination, making an interesting Mobius strip (the mentioned “figure eight” in her lyrics) as it propels you to dance. The original version is a bit slower, but not by much, and has more of a soulful feel to the vocals and rhythm (and the inclusion of simple piano chords is a great touch).
“Nostalgia” wraps up the EP with tick-tock beats and melancholic viola as Lu.Re admits she has trouble living in the present when her past weighs so heavily on her (“I don’t want to be haunted.”).
It’s an impressive debut that lets everyone know two things: 1. You are not alone in your struggles with stress and mental health. 2. Lu.Re is poised to be one of the slickest producers and house musicians on the scene.
The final day of Levitation France (June 05th) had the coolest weather, but there was no rain. The predicted thunderstorms all came overnight, and most of the rain came in the afternoon on Saturday, so we never had to wear our ponchos. The bands we saw that day were among the most varied in musical styles.
First up were the Japanese trio Kuunatic, who play music I can best describe as psychedelic traditional Shinto music mixed with some doom metal bass. It was their first time playing in France, so that made their set a little more special. Everyone in the crowd was intrigued by them at first and loving them by the end of their set.
Kuunatic getting us into a different headspace.
We took a lunch break (Yay, focaccia!) and then came back to the Elevation Stage to see Frankie and the Witch Fingers. My girlfriend hadn’t seen them before, and this would be the fourth time I had. To say their set was powerful would be a massive understatement. They destroyed that stage. The crowd was absolutely bonkers by the end of their set. Many, it seemed, had no idea what was in store for them and were almost blasted into shock not even halfway through their show. My girlfriend described them as follows: “They play like their hair is on fire.”
Frankie and the Witch Fingers melting faces.
Pretty much everyone did an about-face after their set to watch The Brian Jonestown Massacre, who played a good mix of new and classic material. I lost count of how many times some of them switch instruments. Audience members were calling for songs, or trying to have loud conversations with band leader Anton Newcombe in-between songs. Newcombe’s banter with the crowd was fun, especially after one man yelled, “I need more drugs!”, and Newcombe replied, “You don’t need more drugs. You need better drugs. If you had better drugs, you wouldn’t be yelling. You’d be mellowed out.” They sounded great. Top marks go to whomever engineered their set.
The Brian Jonestown Massacre with their requested “drug lights, not drug bust lights.”
The day, and the festival, ended with British post-bunkers Lumer playing a hard, rocking set. They’d been hanging out at the festival most of the weekend, and they looked like they were on a mission, possibly to rescue a skyscraper full of hostages or even some ducklings that had fallen through a sewer grate, every time I saw them walking somewhere. They all had this intense focus and looked ready to either fight or share a pint with you depending on the circumstances. Their live set embodied this the entire time.
Lumer illuminating the evening.
Afterwards, we got on the first of only two paid shuttle buses leaving the festival to go back to downtown Angers. This bus nearly sideswiped a road sign along the Angers streets, to the point where we had to yell for the driver to stop as he attempted to make a turn. He backed up and went through a number of additional one-way streets to get back on track to the downtown city center…where he proceeded to sideswipe two parking poles while attempting to make another tight turn. The wreck caused the glass in the rear exit doors to burst, and it appeared that the bus was stuck on the poles and unable to move. One festival-goer, with a beer still in hand, managed to remove the poles from the sidewalk so the us could make the turn. Only a third of us got back on the bus, either to return to a campground (the only other stop it was scheduled to make) or, like us, to see how this crazy trip would end. Thankfully, it ended with us at the city center without further incident.
The post-festival transportation is my only complaint about Levitation France. There were plenty of buses going to La Chabada, but only three returning on Friday and Saturday nights and only two on Sunday night. Plus, the odds of finding an Uber driver late night in Angers are slim to none. I don’t know if the festival can convince Angers to have more late buses (especially for those who can’t or don’t intend to stay for the whole evening – most of the buses didn’t arrive until the final act was done each night) next year, but that would be a great upgrade to an otherwise fun festival.
Next year will be the tenth anniversary of Levitation France, so the lineup will surely be one to behold. Start brushing up your Français now, and get ready for Levitation Austin on Halloween weekend!
When in Angers, you should check out the Apocalypse Tapestry at Chateau d’Angers. It’s one of the most doom metal things ever made.
Day Two (June 04th) of Levitation France was our busiest day of the festival. There was a small worry of rain and thunderstorms hitting the festival all three days, but it stayed away on Friday and had hit the area on Saturday afternoon. The skies looked clear for Saturday evening, and, thankfully, that turned out to be the case. We walked in for about the last third of a set by You Said Strange, who were highly popular judging by the number of their band shirts I saw at the festival that day.
You Said Strange getting strange on the Reverberation Stage.
Up next were Death Valley Girls. I hadn’t seen them live since the Psycho Music Festivallast year, and they’d written a couple new songs since then (with a new album due in 2023!). They came out, battling the sun beaming directly into their eyes, and put on a heavy, spooky set to counter the light pouring over them.
Death Valley Girls battling the sun and casting spells.
I finally got to introduce myself to them afterwards, which was a delight. We’d only “known” each other through mutually followed Twitter feeds until that time. They’re currently on a three-week European tour and will have a big U.S. / Canada tour this summer (as well as a return to Psycho Music Festival). Don’t miss them.
Some blogger / radio DJ with Death Valley Girls
We then zipped across the lot to see Gustaf. I’d been itching to see them, as I heard their live shows were as fun and weird as their album, Audio Drag for Ego Slobs, and I had heard right. They were just as quirky and sharp as I’d hoped.
I’m not sure if Gustaf or the crowd were bouncing more during their set.
We took a food break (Thanks, BBQ food truck!) and then returned to the Reverberation Stage to see the legendary Kim Gordon come out and rock a mini-skirt better than most women half her age and rock a guitar and stage better than most anyone in the game. It was great to see someone exude so much sensual, raw power.
Kim Gordon flat-out ruling.
Australian rockers Pond were up next and put on a fun, energetic set. Their musicianship was tested and on full display when one synthesizer broke only a few songs into their set. They had to adapt their set list on the fly and play songs they hadn’t intended, and did it without missing a beat.
Pond, changing like chameleons from song to song.
Japanese psych-rock legends Kikagaku Moyo were next. In case you weren’t aware, they are on their final tour for a long time – possibly forever – so don’t miss them if they’re near your town. They sound great as always and dazzled the crowd for their whole set.
Kikagaku Moyo
The festival closed with Canadian electro-industrial duo Pelada, who, if I heard right, were booked a bit at the last minute. They got the entire crowd dancing, with singer Chris Vargas owning the stage (and crowd) from the first moment she appeared. Tobias Rochman‘s beats were a wild switch from the trippy psych-rock and post-punk of the day. Watching douchebag guys being intimidated by Ms. Vargas was one of the highlights of the day.
Pelada dropping beats and spitting fire.
It was a fun day all-around, and the next day would bring psychedelic Shinto music, a band that plays like their hair is on fire, some psych-rock legends, four men on a mission, and a bus ride that will be talked about at the festival for years to come.
It was my first time back to Levitation France in a few years, and it felt great to be back in Angers and at another Levitation music festival. This was my first time attending the festival at the La Chabada venue, which was composed of two outdoor stages facing opposite of each other, a food truck area, and an indoor merchandise booth. One of the many things Levitation France does better than most other festival is to offer affordable, tasty, non-alcoholic beverages for purchase. The lemonade and apple juice (really more like apple cider) there were top-notch. I wish festivals in the U.S. offered stuff like that. Here, it’s usually just an overpriced bottle of water or a can of Mt. Dew.
Day One of the festival (Friday, June 03rd) started off with a small bump when the lineup order had to be changed due to Dry Cleaning having to cancel their festival appearance. That was a bummer, as I was keen on seeing them for the first time. I hope they’ll be at the main Levitation festival in Austin, Texas this October.
So, we started off the festival by catching most of Stuffed Foxes‘ set. They’re a group of friends no older than twenty-two, I think, and they threw down a wild set of loud rock to get everyone ready for a wild weekend.
Stuffed Foxes stuffing us full of rock.
Up next were Albinos Congo, who played a fun set of post-punk with a bit of psychedelia thrown into the mix. Their drummer was sharp, using fills to excellent effect.
Albinos Congo
We closed Day One with Automatic, who hypnotized the crowd with their synth-punk / krautrock set. A funny moment was seeing them leave the merchandise area not long after their set, as they had a flight to catch or had to get on the road for their next gig, and watching their surprise when so many people applauded for them as they left.
Automatic playing alongside a beheaded Silver Surfer.
We were a bit exhausted by the end of their set, so we cut out early in order to be well-rested for the next day, which we knew would have even better attendance.
Coming up next, I finally get to introduce myself to a band I’ve been promoting for a while, see some dynamite legs, watch a band adapt to an equipment malfunction, see some psychedelic legends on their final tour, and watch a woman enthrall a crowd.
I went to the first of two shows A Place to Bury Strangers, Glove, and Ganser were playing at Chicago’s Empty Bottle beginning on the evening of Memorial Day. The holiday Monday night crowd was small, as many people were still returning home from the weekend or still gone on vacation, and due to every restaurant in the area being closed. I had to walk over twenty minutes to find an open Jimmy John’s.
Shame on you if you missed the show due to being hungover from a backyard barbecue or stuck at some family gathering full of drama and your bigoted uncle rating while he spilled mustard on his shirt. You missed a wild show.
Chicago’s own Ganser were first up, and they put on a solid set of post-punk that had influences of Joy Division and The Cure all through it. Their guitarist, Charlie Landsman, seems to play like he has no idea what he’s doing, but that’s kind of the point. My friend, Rafael (bass player for Chicago death metal band Asphyxiator), marveled at the sound Alicia Gaines got out of her bass throughout the whole set (“Her bass tone is really good!”).
Ganser
Glove were up next, and they reminded me of a heavier version of Ladytron. The throbbing synth beats mixed well with their post-punk guitars and krautrock vocals. Their set grew a bit darker as it went on, which was all right by me.
Glove fitting well on stage.
APTBS as always, came out and demolished the place. I wondered how loud it was going to be, as they’re one of the loudest bands out there and the Empty Bottle is a small venue. Sure enough, my feet were vibrating by the time they got to the heaviest version of “Oceans” I’ve heard them play.
Oliver Ackermann in his natural element – using a strobe light to play his guitar like its a washboard.
One of the best parts of APTBS‘ set was seeing how much fun they were having. Ackermann told me early in the evening that he was happy to be back out on the road and seeing everyone. He and his friends, the husband and wife duo of John and Sandra Fedowitz, were grinning through a lot of the set and having a blast as they melted faces and minds. You can always tell who is attending one of their shows for the first time because they always have the same “What the hell is happening?” look on their faces. I saw a lot of that.
A Place to Bury Strangers exploding heads in Chicago.
Go catch them if you can. You won’t regret it.
Keep your mind open.
[Thanks to Steven at Dedstrange for the press pass!]
With new album ‘Honeymoon Suite‘ out June 17th via Hand Mirror, the label Harkin founded in 2019 with her wife, the poet Kate Leah Hewett, today Harkin is sharing her new single “Here Again“, featuring brass by Nate Walcott (Bright Eyes) and Aaron Roche (Lower Dens, Sufjan Stevens, Anohni, Flock of Dimes).
Speaking about the track, Harkin said “‘Here Again’ is a song about the timelessness and of love and loss. It’s about the dance of raw vulnerability and galvanising strength that comes with both, how each are transcendent and everyday. Everyone seems to mention how time has worked differently the last few years, and for me that really crystallised in my experiences of love and loss.
My grandad, who passed away years ago, wrote poetry and the line about dancing away references a poem he wrote about his own feelings on mortality. In some ways it feels like an ongoing conversation with him. It’s been hard over the last few years to feel like I’m remaining porous and open to life when there are so many reasons to want to shut it out. This song is a reminder to let it all in.”
‘Honeymoon Suite’ are a blend of love, grief, anxiety, resilience, danger, heartbreak and hope. Part pop record, part electronic soundscape, part interior still life, ‘Honeymoon Suite’ was recorded in a one bedroom flat in the depths of UK lockdowns
The album marks a significant shift for an artist who had previously built a career around collaboration. In addition to her own bands, Harkin has been a touring member of Sleater-Kinney, Wild Beasts, Flock of Dimes, and Kurt Vileand Courtney Barnett’s Sea Lice. She performed backing vocals for Dua Lipa on Saturday Night Live. She dueted with comedian Sarah Silverman on ‘Tiny Changes: A Celebration of Frightened Rabbit’s The Midnight Organ Fight’. Her studio work includes contributions to Waxahatchee’s ‘Out In The Storm’. Outside of the music world, Harkin has composed for Turner Prize-winning artist Helen Marten and British comedian Josie Long. She even has a Saturday Night Live sketch named after her (Fred Armisen’s 2016 ‘Harkin Brothers Band’).
Where her self-titled first record is infused with the expansiveness which birthed it – written and recorded while touring the globe – ‘Honeymoon Suite’ is an entirely different affair. The album was written in the same room in which Harkin and her wife ate all their meals, held their virtual wedding reception and attended a funeral over zoom. As Harkin describes it, ‘Honeymoon Suite’ is “a ship in a bottle of that time”.
The album takes its title from the couple’s affectionate nickname for the flat they found themselves living in after relocating from their then-home in Hudson, New York, where Harkin’s wife was working as a live music promoter until the pandemic was declared. When it became obvious that they would both be out of work indefinitely, they joined many others heeding the call of their home nations to repatriate. In addition to that frenzied move back to the UK, the couple’s planned wedding also took a hard left turn. They had intended to hold a wedding for 150 in September 2020. Instead, they got married in a small, outside ceremony in front of their bubbled parents and siblings. They were married in the Derbyshire village of Eyam, coincidentally famous for quarantining itself during The Bubonic Plague. The flowers in the image on the album’s back cover are their wedding bouquets. “I followed a YouTube tutorial and made our bouquets out of the wedding flowers our friends sent us. We didn’t take a honeymoon and still haven’t. Instead, the flat in Sheffield became our honeymoon suite.”
The album’s DIY ethos continued through its artwork. “Kate took the cover photo and designed the layout. She also designed our original wedding invitations so it felt apt.”
The album also marks Harkin’s first forays into self-producing, a journey she began immediately after her move back to the UK. At that time, her best friend, cinematographer Ashley Connor, asked her to create the soundtrack for an experimental short film she was making for Sam Abbas’ quarantine movie ‘Erēmīta (Anthologies)’. “I’ve worked in all manner of studios and assumed many different roles in music making. I had thousands of flight hours but I had still never been the pilot. Owning the role of producer was more of a mental block than anything else, but circumstance dissolved that intimidation. Working on Ashley’s soundtrack early in the pandemic gave me the confidence to continue producing my own solo work. I won a grant from the PPL Momentum Accelerator Fund which would cover the mixing and mastering if I could be self-sufficient in recording. It felt like the quest I needed to push me into discovering this new direction.”
In terms of instrumentation, ‘Honeymoon Suite’ is more electronic than Harkin’s previous work and this too was for largely practical reasons. “Kate took a remote call centre job when we first got back. This meant we were in the same room, her taking customer service calls and me working on the album. The flat was also above a pub, so I had to record strategically. I’d program drum machines and synths in the day, record guitars in the evenings over the din of the pub-goers, and I’d squeeze vocals into the quiet weekend mornings.”
Indeed, most of the tracks on ‘Honeymoon Suite’ emerged out of synth drones, a refuge for Harkin during the weeks at a time that she didn’t feel like bursting into song. “The album’s glitches and degrading samples reflect the limitations of the digital intimacy we were all relying on during that time as we literally phoned it in.”
Harkin freely admits that the enormity of the task was no walk in the park for the first time producer. “Being my own mirror was ego-crushing at times; I knew these songs deserved extra gusto that I had to outsource.” That’s where the brass by Nate Walcott and Aaron Roche, slide guitar by J.R. Bohannon (Torres) and backing vocals by Sophie Galpin (Soft Lad, Self Esteem) came in, sent down the wire from their respective homes. It was even mixed and mastered remotely (mixed by Jeff T Smith in Leeds and mastered by Guy Davie in London).
As Harkin puts it, “for me, this album was a rabbit hole and escape hatch. It’s a very vulnerable record. There are no performances – I made it alone. Releasing it into the world feels like an extension of the solitary process and remote collaboration which created it. I hope it travels far and wide.”
Ultraflex is an interdisciplinary collaboration between Farao (NO) and Special-K (IS) and today they are sharing their new single & video “Rhodos“, which showcases another glimpse of their playful disco-pop.
“Rhodos” is an ode to Northern European tourists partying in the South of Europe (Mallorca, Ibiza, Rhodes etc.) It honours pink beer bellies, Smirnoff Ice and the smell of aftersun and is inspired by Ultraflex’s own experience of getting liquor poured straight into their mouths by flexing bartenders at a time in their lives when belly rings and miss sixty jeans were of the utmost importance.
The track is accompanied by a jeggings and jewels filled music video filmed in Greece, directed by Sigurlaug Gisladottir. In the words of the band, “‘Rhodos’ was written in deep pandemic, when we were desperately craving to party. Longing after people yelling in our ears, everyone bumping into each other, stepping on our toes and the sensation of cold beer flowing down our backs. Writing Rhodos immediately transported us to a hot and sticky beach, a place we loved and loathed equally.”
Ultraflex released their saucy debut albumVisions of Ultraflexwas released in 2020 to critical and popular acclaim, winning The Icelandic Music Awards 2021 for ‘Best Electronic Album’ and Kraumur Award for ‘Best Album’, besides collecting additional international nominations. Ultraflex places equal value on sounds, lyrics and visual representation – music videos or experimental films are made to every single song.
Ultraflex’s sound is inspired by the disco, italo and funk of the 80’s, blending it with new-age sensibilities, unexpected jazz chords and melodic twists. The result is a catchy, contemporary whirlwind of dance floor weirdness, nodding to their ancestors in the historical lineage of spectacular electronic music. The duo’s material is simultaneously kitsch and conceptual, filtered through contemporary pop culture. Ultraflex creates their own brand new lotion carefully tailored to your needs.
JayWood – the moniker of Winnipeg musician & songwriter Jeremy Haywood-Smith – presents a new single/video, “Thank You,” from his forthcoming album, Slingshot, out July 15th on Captured Tracks. The album’s penultimate track, “Thank You” was co-produced with Jacob Portrait of Unknown Mortal Orchestra & Blouse and features string arrangements by Johan Lenox. The song brings JayWood’s sound full circle, offering something reminiscent of Haywood-Smith’s earliest recordings while flaunting that “the best is yet to come.” “‘Thank You’ is a song that’s dedicated to the folks that aren’t really in my life anymore, but more importantly it’s for my mom who passed away back in 2019.” says Haywood-Smith. “I feel like this song kinda wrote itself, it felt so easy to put together because I knew the core of what I was trying to get across. The demo for this song felt super strong but after Jake and I spent some time expanding a few ideas, the song really blossomed into something I couldn’t ever imagine.”
The charming accompanying video, directed by Chantel Simpson, shows Haywood-Smith passing out flowers across Harlem.
The narrative for Slingshot takes place in the span of one day. From the first track to the last track, JayWood takes you on a journey that touches on themes of childhood, religion, and identity. While writing and recording the album, Haywood-Smith put together a complex “script” mapping out all of the plot points, environments, characters that make up this surreal version of his real life. Musically, Haywood-Smith wrote and performed a bulk of the track’s instrumentations, but the LP has notable appearances from Canadian contemporaries Ami Cheon and McKinley Dixon, and fellow Manitoban musician Kayla Fernandes who fronts the doom-metal band Vagina Witchcraft. Despite the culturally homogenous nature of his hometown, Haywood-Smith takes inspiration from a wide range of Black performers and artists working in all genres and eras. “This album felt like I was making something that I would want my younger self to hear.”
Born and raised in the Canadian prairies, JayWood has captured Haywood-Smith’s journey of self-discovery and heartache through unique songwriting since 2015. After the loss of his mother in 2019 and a global standstill with multiple social crises throughout 2020, Haywood-Smith yearned for forward momentum. “The idea of looking back to go forward became a really big thing for me—hence the title, ‘Slingshot,’” Haywood-Smith explains. Feeling disconnected from his past and ancestry after the death of a parent, Haywood-Smith made a conscious effort to better understand his identity and unique Black experience living in the predominantly white province of Manitoba. Slingshot is a self-portrait of JayWood at his surface and his depths, merging fantasy scenarios, personal anecdotes, and infectious pop and dance instrumentals.
I scored this lovely and bargain-priced (twenty bucks!) mini-set of five classic albums by bossa nova queen Astrud Gilberto while on a late winter trip to California. The set covers records released by Gilberto (Yes, the first wife of Brazilian composer João Gilberto and stepmother to Bebel Gilberto.) from 1965 to 1969. In particular, they are her first (The Astrud Gilberto Album – 1965), third (Look to the Rainbow – 1966), fourth (A Certain Smile, A Certain Sadness – 1966), sixth (Windy – 1968), and seventh (I Haven’t Got Anything Better to Do – 1969) records, and all of them are delightful.
The first album pairs her with the legendary Antonio Carlos Jobim, who wrote her famous hit “The Girl from Ipanema.” Like that song (which is not on this record, but rather on the other classic Getz / Gilberto), this album is an instant mood-changer. Starting with “Once I Loved,” and Gilberto singing that “love is the saddest thing when it goes away,” everything around you adapts to her voice. Her duo with Jobim on “Agua De Beber” is another song that brings a smile to your face, and Joao Donato‘s piano on it is a delight while Jobim’s subtle guitar strumming hits harder than most metal records. Gilberto sings about the nerves associated with new love on “And Roses and Roses” while snappy percussion sizzles and soothes behind her. “How Insensitive” is heart-breaking yet alluring. “Dindi” is a bossa nova standard, and Gilberto does a great version of it here.
Look to the Rainbow is full of stunning arrangements by Gil Evans. Opener “Berimbou” would fit into a 1960’s Bond film with its lush horn section and exotic strings. The horns on “Fervo” might inspire a wild party in the streets. “Maria Quiet” is, I’m sure, being played in a Tiki bar somewhere right now. “Bim Bom” is peppy and bouncy, sure to flood a dance floor in that Tiki bar. “El Preciso Aprender a Ser So (Learn to Live Alone)” is one of those songs Gilberto pulls off so well – longing and yearning mixed with Zen-like detachment.
A Certain Smile, A Certain Sadness teams Gilberto with the Walter Wanderley Trio. Wanderley was an organ maestro who played on “The Girl from Ipanema,” and his band (Jose Marino – bass, Bobby Rosengarden – percussion, Claudio Slon – drums) are all sharp pros. The first two tracks are the double title tracks and both are bossa nova lounge classics. Wanderley’s organ riffs on “Nega” are the sounds of a hundred drive-in intermission countdowns, and Gilberto’s playful vocals on it are a delight. “So Nice (Summer Samba)” is another bossa nova classic, and it’s great to hear Wanderley strut his stuff on it while Rosengarden adds some spicy beats Any melancholy you might be feeling is wiped out by “Goodbye Sadness (Tristeza).” If the closer, “It’s a Lovely Day Today,” doesn’t cheer you up, I don’t know what will.
Windy was cut while Gilberto was living in Philadelphia and raising her and João’s son, Marcelo (with whom she shares vocals on “The Bare Necessities”). A lot of the songs are the album are big and bold, suitable for a Las Vegas nightclub or your party’s hi-fi. Opening track “Dreamy” is a perfect example with its lively brass section. “Never My Love” exudes soft 1960s psychedelia. She nails the title track (a cover of the classic hit by The Association), taking on the identity of the mysterious, playful woman as her own. Her cover of The Beatles‘ “In My Life” is also lovely.
According to the liner notes, Gilberto calls I Haven’t Got Anything Better to Do her “fireplace album.” She wanted to make a record that moved away from the aggressive sounds dominating the 1969 airwaves and could be listened to while curled up next to a fire. She did it. “He’s got a problem if he thinks I need him,” she sings on the opening title track. She had divorced João by this point, so you can’t help imagining her singing that in his direction. The soft, subtle horns on “Wailing of the Willow” mix perfectly with Gilberto’s haunting voice. “The Sea Is My Soil (I Remember When)” again makes you wonder why Gilberto never sang the theme to a Bond film. Everyone can relate to “World Stop Turning” at one point or another as Gilberto wishes time would stop so she could stay in bed with her husband just a bit longer.
It’s a wonderful collection, and a great way to be introduced to her music and bossa nova.
