Second Line

Dawn Richards move to Merge Records for Second Line provided an instant boost to her profile. From an artistic standpoint, its transparent. Utilizing the higher platform to simply advance her modern synthesis of pop and dance music styles that have sprung from rhythm & blues, the dynamo also continues to derive concepts from her duplexity as a cultural anthropologist and futurist. There arent any syncopated grooves in the manner of traditional second-line drumming native to Richards beloved New Orleans, but the album is a representation of the protagonists leading of a procession to observe the death of all creative restrictions imposed by the music industry. Subtitled An Electro Revival, Second Line is more an extension of related forms that preceded and followed early-80s electro, from soul and funk to house, bounce, and footwork. Inspired still by the totality of her lineage, Richard starts the album by introducing and personifying cover star King Creole, a commanding figure who projects stealth omnipotence with deep-voiced declarations like Too ahead of you bitches, take em years to catch me. Threaded from start to finish are segments of Richards mother answering her daughters questions about second lines, upbringing, and romance. The last subject prompts a mention of Richards father, whose piano guides a following interlude in which the singer breaks free from a disastrous relationship. Elsewhere, desire, longing, and heartache tend to commingle with the greater amount of material that fizzes with resolve, pride, and eminence. Although there are fewer flat-out astonishing moments here than on the earlier LPs, numerous cuts elicit blues-shedding movement and seem unfadeable. Nostalgia, Boomerang, and Bussifame make for a torrid early sequence of strutting, stomping, neck-swinging delight, and toward the end, theres the rippling ballad-turned-drumnbass belter Perfect Storm, where the hero takes a step back to beam, We went from homeless to limitless, yall. Remarkably, Richard again switches up her collaborators without losing a step, this time working primarily beside the previously obscure Ila Orbis with Sam O.B. (aka Obey City), Joe Beats, and J Rick each on one track. ~ Andy Kellman

先鋭R&Bを追い続けるドーンのマージ移籍作は、エレクトロ再興をめざす黒人女性を主人公にしたというコンセプチュアルな一枚。サム・オベイがプロデュースした先行曲"Bussifame"をはじめ、ベース・ミュージックにトライバル感と賑々しさを加えた楽曲群は表題通り〈エレクトロ版セカンドライン〉と言えるもので、自身のニューオーリンズ・ルーツを独自の切り口で表している。未来志向のダンサブルなR&Bに参列して踊るべし。
bounce (C)池谷瑛子