New Albums
FEM du lit's 'Stigmata' Transmutes Stigma Into a Powerful Musical Experience
Up-and-coming French and Congolese artist FEM du lit challenges the stigma of queerness in the African diaspora through their emotionally striking storytelling.
According to Oxford Languages, stigmata is the plural form of stigma, a mark of disgrace associated with a particular circumstance, quality, or person. It's an all-too-familiar term for those of us who've dealt with shame, especially from Abrahamic religions. However, up-and-coming French and Congolese artist FEM du lit turns stigmata on its head and transmutes it into a body of work that challenges the stigma of queerness in the African diaspora through their emotionally striking storytelling.
I've always been fascinated by the intersection between religion, sexuality, and shame, so the album title Stigmata called out to me before I even had a full chance to listen. The description alone sold me.
According to FEM du lit's website, Stigmata "juxtaposes religious and occult motifs interwoven throughout the 13-song full-length album."
Described as "deep witchy electro-soul," and music "pour la fin du temps," FEM du lit's music is trippy, thought-provoking, and at times, sexy. The artist behind FEM du li, Francesca Eluhu (who was also the primary writer and producer on the tracks), has channeled their innermost thoughts and experiences into an album that will resonate with listeners. Additionally, I can best describe that Stigmata is a whole vibe, and the ideal nighttime listen.
Stigmata is a bilingual lyrical journey through familial joy, generational trauma, romance, and heartache. The album starts with the wordless "GUITARRARRARRA," which includes some tinkering in the studio over the sound of flowing water. It's the calm before the storm. The music then transtions to "SUCRE,"which translates to "sugar" in English. In the song, FEM du lit laments a long-distance relationship and the longing for connection.
The title track croons over a tune that's reminiscient of old school R&B. "Stigmata" is an ode to queer sex, yet at the same time questions the feelings behind it. Certainly, in the moment, intimacy in its purest form is the closest path to God, yet why is there so much shame in it?
"Stigmata" propels the rest of the album forward, hinting at the unintended consequences of queer romance and identity. However, the sometimes heavy lyrics are intertwined with smooth, jazzy beats interspersed with guitars, saxophones, piano, and sultry percussion. Going back and forth, FEM du lit ponders sex, family relations, domestic violence, and the pressure of capitalism while trying to create. The artist is joined by Da Qween on the sensual slow jam "LILYJAM," and then again on the tense "WITCHCUNT." On "BANKRUPT," FEM du li is accompanied by Obsvdian.
Throughout Stigmata, FEM du lit weaves together the French and English language within their lyrics. Songs such as "EUCHARISTIE/CREEPY CRITTERS," "COLD COLD WORLD," and "SORTILÈGES/SPELLS OF DOUBT" showcase the artist's mastery of bilingual storytelling. It not only heightens the impact of the musician's words, but sounds pleasing as well.
"SORTILÈGES/SPELLS OF DOUBT" is the album's closer, following the solemn "DEAD MAMA" and "SOLDIER." Before exiting, FEM du lit pleas for listeners to appreciate the time we have on this earth and repels "spells that plant seeds of doubt"... translated from the French lyrics. Based on the album's entirety, there's nothing left to doubt, as FEM du lit is the real deal.
So far, Francesca Eluhu has garnered comparisons to the likes of Anita Baker, Kadhja Bonet, and even Erykah Badu. However, Eluhu's point-of-view makes them a standout to continue to watch, because Stigmata is certainly a remedy for the soul.
Stigmata is now available to stream on Bandcamp as of February 28th.
Deep Sea Diver's 'Billboard Heart' Deserves the Love
Rocking between the haunting and electrifying, Billboard Heart is a creative manifestation that showcases Deep Sea Diver at their best.
Five years after Impossible Weight, Deep Sea Diver has achieved the seemingly impossible by cementing their status as a musical heavyweight. Their latest album, Billboard Heart, is a breath of fresh air in a time of tension. It’s the perfect accompaniment for a Washington ferry ride (where most of this piece was written). It’s the soundtrack for a spontaneous night out—when life imitates an indie movie. Billboard Heart is a body of work that was created with heart and soul.
Deep Sea Diver has matured since their debut album History Speaks, yet the band's fourth effort (and first release from renowned label Sub Pop) exudes a youthful joy that cuts deep. The record's 11 songs are a mix of radio-friendly pop, pensive synth tunes, and riff-heavy fare that's fit for stadiums. Rocking between the haunting and electrifying, Billboard Heart is a creative manifestation that showcases the band at their best.
Following a stint opening for Pearl Jam on their Dark Matter tour, Deep Sea Diver is ready to embark on their own headlining tour in the United States. With their Seattle date already completely sold out, and following a week-long celebration of album release events, the band is basking in their well-deserved success. The band's ascent has been over a decade in the making.
Born of a strained recording process between Los Angeles and Seattle, Dobson and Deep Sea Diver have emerged triumphant with a fresh voice. Billboard Heart was written by lead singer and instrumentalist Jessica Dobson. Dobson is joined by Peter Mansen on drums, Elliot Jackson on guitar and synthesizer, and Garrett Gue on bass. Composers for the album include Dobson, Mansen, Jackson, Yuuki Matthews, Adam Schatz, and California folk artist Madison Cunningham. Additionally, the album was produced by Dobson and Andy D. Park.
The title track leads the record, the audio opening like a sunrise. "Billboard Heart" sets the tone for the rest of the album, as a wistful song about a lost love. "What Do I Know," "Emergency," and "Shovel" are more urgent, although catchy songs. The album slows down with its fourth track, "Tiny Threads," which continues the element of unraveling in a toxic relationship. Later on, "Let Me Go" includes the talents of Madison Cunningham in another heartbreaker of a song. Billboard Heart is an extremely cohesive album, an homage to the relationships strewn about the past.
Dobson's colorful lyricism is the key ingredient that anchors Deep Sea Diver's artistry and distinguishes their music. Dobson has penned lines such as "Don't fan these sympathy flames... I'll give you anything..." (Emergency), "And I think I love you the most when you're unraveling... Always held together by tiny little threads..." (Tiny Threads), "Your confetti of thoughts are lying on the rug..." (Always Waving Goodbye), just to name a few examples of clever wordsmithing.
Mansen's frenzied percussion, Jackson and Dobson's guitars and synth work round out Gue's steady bass riffs. Not unlike its previous work, Deep Sea Diver plays with polish.
Not surprisingly, Billboard Heart contains no skips. A musical journey from start to finish, the record culminates in a melancholy, yet inviting "Happiness Is Not a Given." Dobson's lyrics leave a space for more with "I'll be the door you can open up into the arms of an ocean."
It's evident that Deep Sea Diver prioritizes quality over quantity, but hopefully the wait between albums won't feel too long, if the band plans to move forward. Overall, Billboard Heart in its entirety feels like some sort of long goodbye, but hopefully, it's not an actual goodbye.
Billboard Heart is now available on all major streaming platforms.
The record was released on February 28th and is now available on vinyl.
Deep Sea Diver is set to tour in the United States beginning March 30th. For tour dates, visit the band's website.
Townsend's Solitaire Debuts New Album 'Glad to Be Alive'
Grief is a subject that is often difficult to put into words. However, Townsend's Solitaire's first full-length album, 'Glad to Be Alive' does precisely that.
Grief is a subject that is often difficult to put into words. However, Townsend's Solitaire's first full-length album, Glad to Be Alive does precisely that. Following a series of losses, Seattle-based classically trained musician Bobby Odle took the time to document the emotional journey during his transformative 27th year. Following the events, Odle wore his heart on his sleeve and transmuted that grief into a powerful series of songs. Combined with Odle's storytelling, Glad to Be Alive is a path to healing and a piece that aims to destigmatize the conversations around grief and mental health.
For Glad to Be Alive, Odle joined forces with fellow classically trained musicians (Kirill Polyanskiy on violin, Emma McGuire on flute, Steven Higbee on clarinet, Nathan Moore on cello, and Elle Castelli on piano, with Odle on guitar and vocals) to bring forth a unique sound dubbed as "chamber folk." Glad to Be Alive is preceded by two EPs: 2023's Knitting Needles and 2022's When We Were Far Away.
As mentioned in the write-up about Glad to Be Alive's first single of the same name, "the album was recorded at Sage Arts Studios under the production of Jordan Cunningham and then mastered by Rachel Field at Resonant Mastering. Odle also takes an unfiltered approach to the rest of the musical process, as Glad to Be Alive was produced, engineered, and recorded live to two-inch 16-track tape and mixed to half-inch, two-track tape, which means that all band members were present at all times in studio."
According to Townsend's Solitaire's bio, Odle cites influences such as The Tallest Man on Earth, Adrianne Lenker, Bright Eyes, and Sufjan Stevens.
Glad to Be Alive is a direct look into Odle's life as he sings candidly about the past year's events and his pivotal relationships. Although The album was ignited by several tragedies, at its core, there is still some optimism for the journey that lies ahead.
The album opens with "Dear Old Friend," a tribute to Odle's childhood best friend Tanner (who passed away by suicide). The album transitions to "Keluarga," a song about suicidal ideation where Odle is honest about his efforts to stay alive. Later, there are audio letters to Odle's sister in "To You, From Bali," and an homage to his deceased brother Chris in "Little Brothers." The album also includes love songs such as "Raining In June pt. I" and "Raining in June pt. II."
One of the highlights of the album is "Glad to Be Alive," the album's title track. In the song, Odle ponders the meaning of happiness and grapples with trying to keep going while everything seems to be collapsing around him. The track to casual listeners may seem upbeat, but upon a closer listener, it takes on a heavier meaning.
The album concludes with "In the Morning," a call to action that urges listeners (and himself) to "Stay calm, be kind, please take your time." It's a song that encourages listeners to keep going as there's so much out there to live for. Odle is right.
As of June 28th, Glad to Be Alive is now available on Spotify and vinyl. Townsend's Solitaire is also currently on tour. For upcoming show dates, visit townsendssolitaire.com/shows.
Waiting for Pearl Jam: The Band Shines Bright With 'Dark Matter'
Following Gigaton, which was plagued with setbacks due to COVID, Pearl Jam's 12th studio album, Dark Matter, is one of the band's most personal albums and well worth the wait.
According to a child-friendly definition of dark matter, it's "that invisible glue that keeps stars, dust, and gas together in a galaxy. This mysterious substance makes up the majority of a galaxy's mass and forms the foundation of our Universe's structure."
Whether metaphorical or literal, the definition lends itself to the legacy of a Seattle band that has reached stratospheric heights following a series of phenomena that can be truly described as the stars aligning in its favor. 33 years later, Pearl Jam is still standing, their music fueled by brotherhood, lived experiences, and legions of devoted fans. With a new album, Pearl Jam shows no signs of slowing down and returns with a record that celebrates music and life itself.
On a personal level, Pearl Jam is a band that has become the invisible glue that makes up my life. It's no exaggeration when I say that Pearl Jam's music helped me through some traumatic events, allowed me to meet some dear friends, and prompted my adventures in live music.
Following Gigaton, which was plagued with setbacks due to COVID, Pearl Jam's 12th studio album, Dark Matter, is one of the band's most personal albums and well worth the wait. Guided by producer and self-proclaimed Pearl Jam superfan Andrew Watt (who has livened the work of Eddie Vedder, Rolling Stones, and Ozzy Osborne), Dark Matter finds joy in the abandonment of playing and exists as the band's most collaborative effort to date. With Watt's production as the foundation of the album, the band embraces a new direction while also making callbacks to earlier work.
As a relatively new resident of Seattle, it has been exciting to see the album rollout occur for the city's hometown heroes. I attended a listening party at Easy Street Records this past weekend in addition to the one-night theatrical experience. Both experiences, while very different, still conjured the same result. There was a plethora of excitement and a wave of praise for Dark Matter.
Prior to the album's release, Pearl Jam shared three singles. The title track was the first and for good reason. "Dark Matter" packs a punch through Matt Cameron's ferocious drum-playing and its angsty vocals. Eddie Vedder is back in peak form as the band's lead vocalist. While "Dark Matter" is a great song to set the stage, "Running" and "Wreckage" are also relatively upbeat songs that were positive nods for what was to come.
Dark Matter opens with "Scared of Fear," a frustrated, yet melancholy song about a struggling relationship. "We used to laugh, we used to sing... We used to dance, we were our own scene." It's a catchy gateway to the rest of the album and hints at the band's maturity, both in the artistic and physical sense.
"Scared of Fear" then transitions into the equally frustrated "React, Respond," which appears to be a culmination of the last four years of social and political events in the US. No strangers to activism and speaking out against political leadership, "React, Respond" takes Pearl Jam back to its roots, more specifically to the Vs. era. On the surface, the song is a call to action to unite for a greater cause. "When what you get is what you don't want... Don't react, respond."
Described as a "guitar-heavy" record, Dark Matter is heavier than some of Pearl Jam's previous albums. Mike McCready's explosive solos are peppered throughout as well as Stone Gossard's memorable riffs. More than ever, the pair plays off of each other well. As far as guitarists go, on Dark Matter, McCready is a barrage of fireworks, while Gossard's work is like a steady crash of waves—both very different types of playing, but still amazing sights to behold. Additionally, Jeff Ament's bass line grounds the music.
My personal two favorite songs on Dark Matter are side by side: "Upper Hand" and "Waiting for Stevie."
"Upper Hand" is a supersonic journey led by Gossard's mesmerizing composition. Another wistful song, "Upper Hand," longs for simpler times. With an ambient beginning, the song morphs into a psychedelic, Pink Floyd-esque sound. The song will be a favorite during live shows and is one I can't wait to hear.
Meanwhile, "Waiting for Stevie" is euphoric, and exemplifies the healing power of live music. A tearjerker (at least to me), "Waiting for Stevie" is a song that has been decades in the making. Emotional and uplifting, the song will likely find itself among other powerhouses such as "Alive" and "Given to Fly." Concluding with an electric solo by Mike McCready, "Waiting for Stevie" represents over 33 years of what makes Pearl Jam special.
Other songs such as "Won't Tell," "Something Special," "Got to Give," and "Setting Sun" help round out the record.
In numerology, 12 represents completion and creative power. As Pearl Jam's 12th album, Dark Matter is indeed a powerful addition to the band's body of work. At this point, Pearl Jam has already reached for the stars, so now it's time to see what lies beyond that. Dark Matter is emblematic of the band's expansion. Luckily, there's more than enough space to explore.
Dark Matter is now available on all major streaming platforms.
The record was released on April 19th and is now available on vinyl.
Byland's 'Heavy For a While' Lays Down Its Burdens Through Song
Heavy For a While is the latest effort from Seattle-based duo Alie Renee and her partner Jake (the name Byland is derived from the couple's surname). Described as "cinematic indie rock," Byland's atmospheric music is colored by the vulnerability of its lyrics, laying down burdens through song.
As if releasing the weight of the world from her shoulders, Alie Byland exhales at the opening of Heavy For a While, which also opens with a track of the same name. The sigh is a culmination of years of frustration, despair, and the crippling burden of isolation. In fact, on the cover, Alie is arched forward—a physical manifestation of the 10 of Wands card—barefoot, and her hair loose. Her fingers are grazing the floor. Her pose is one of exhaustion almost, looking toward the viewer as if to say, "I've had it."
Right off the bat, it's obvious that Heavy For a While will be well, heavy. It's the kind of album that's an ideal soundtrack for a solo trip when you've got a lot on your mind. Deeply resonant, the album will speak to its jaded audience who is searching for a sense of "normalcy" after a series of unprecedented events.
Heavy For a While is the latest effort from Seattle-based duo Alie Renee and her partner Jake (the name Byland is derived from the couple's surname). Described as "cinematic indie rock," Byland's atmospheric music is colored by the vulnerability of its lyrics, laying down burdens through song. Alie is the frontwoman, the vocalist, and the primary instrumentalist, while Jake engineers and co-writes. Heavy For a While is preceded by Gray and Desert Days.
Comprised of 10 tracks, Heavy For a While is a work that embarks on a mission to spill the inner content of Byland's soul. Largely inspired by the couple's experiences during COVID lockdown and a return to New Mexico for about two years, the album ponders home and a sense of belonging—wherever it may be. The album was completed in Seattle, under the production of Nathan Yaccino (Pearl Jam, Brandi Carlisle, Tanya Tucker). Additionally, the couple penned the songs independently before perfecting the final product.
Following the opener, Byland meanders into a string of contemplative songs such as "Lean In" and "Settle My Mind," which delves into the home of someone struggling with anxiety and depression. Later, Byland discusses a friend frozen in time in "Two Circles." The existential "Temporary Everything" is dreamy, yet straightforward with its lyrics, "Everything's existential... monumental... The end of the fucking world...I'm feeling jaded..."
One of the most powerful songs on the album is "Darts," a vibrant ode to how dreams don't always reflect reality. Accented by string instruments and piano, "Darts" is a loaded entry before the lighter "Monstera," which continues with a similar theme, as Byland reflects on a childhood best friend. Next, perhaps the most cinematic fare on Heavy For a While is "Like Flies." The song starts low and breezy before reaching its symphonic chorus. Emotional and complex, "Like Flies" is a climactic song that showcases the best of Byland's composing and songwriting abilities. "Postcards" once again leans into the past, this time remembering those long gone. Heartbreaking, "Postcards" laments, "I have a hard time letting go..."
Heavy For a While concludes with the understated piano track "End Scene." Lighter than the previous songs, "End Scene" is a fitting closer. In the song, Byland ponders a life that's blurred by the demands of performance. Is there a difference between being in the audience and being on stage? What happens when the curtain falls? The questions unanswered linger long after the final note is played and the music fades away.
Overall, Heavy For a While is fueled by wistfulness for simpler times, existential dread, and navigating a society that occasionally shuns authenticity. A reflection of the times, the album is a testament to Byland's maturity. Heavy For a While is incredibly raw, and being raw is one of the first steps toward healing and letting go of the past.
Heavy For a While is now available on all major streaming platforms such as Spotify, Apple Music, Tidal, and more.
The record was released on March 29th and is also now available.
Gossip's 'Real Power' Is a Return to Form
After a 12-year hiatus, Gossip has emerged with a new album, Real Power. Unexpected but welcome, Real Power celebrates the return of the musical trio and its signature sound of soulful vocals and dance-friendly beats.
There is power in absence, and undeniably the band Gossip was missed. Known for its work that combines the sounds of pop, punk, and disco, Gossip has made its mark as a queer feminist powerhouse since its founding in 1999. The band is currently comprised of vocalist Beth Ditto, guitarist Nathan Howdeshell, and drummer Hannah Blilie.
Following the release of its 2006 album Standing in the Way of Control, Gossip found mainstream success, especially in Europe. Since then, the Portland-based band has made numerous chart appearances, toured internationally, and released additional albums such as 2009's Music for Men. However, the momentum stalled as the group separated to focus on independent projects for a few years. The band's last album was 2012's A Joyful Noise.
After a 12-year hiatus, Gossip has emerged with a new album, Real Power. Unexpected but welcome, Real Power celebrates the return of the trio and its signature sound of Ditto's soulful vocals and dance-friendly beats, produced by the renowned Rick Rubin (who also produced Music for Men).
Kicking off with the high-energy anthem "Act of God," Real Power is a powerful reintroduction to Gossip. Reminiscent of '60s girl group songs, "Act of God" sets the tone with high-octane lyrics. Real Power revels in the beauty of being alive and encourages existing in a time when there is so much opposition from the government and society as a whole. Real Power packs a punch and manages to be more relevant than during the time of its writing.
The next song in the lineup, the title track, is a disco-themed song that was penned in response to the events in 2020. As the majority of the United States was on lockdown due to the COVID pandemic, and protests broke out due to the death of George Floyd, Ditto's lyrics are defiant and signify a desire to go against the system. During its release in 2024, Real Power is a crucial album as protests continue to erupt, and various authorities attempt to strip away the rights of the marginalized, particularly the LGBTQ+ community.
As Real Power moves forward, the songs become more personal. An overarching theme of Real Power is that of strained and broken relationships. As evidenced by the passage of time, the band uses the album to lament a string of losses as well as celebrate love itself. Songs such as the poppy "Don't Be Afraid," "Crazy Again," stand out track "Turn the Card Slowly," "Tell Me Something," and "Peace and Quiet" all point to the impact of love and its human collateral. However, the album provides more nightclub fare such as "Give It Up for Love," which is an ode to love that blooms once again.
Real Power closes with "Peace and Quiet," which contemplates the freedom of being alone but ponders on the struggle that comes with transitioning out of a relationship. The song is a complete foil to the album's opener and leaves the listener contemplative, possibly desiring more.
Overall, Real Power is a solid return for Gossip. An ideal soundtrack for the warmer months, Real Power doesn't stray too far from the band's roots. For seasoned fans, that may be a good thing.
Real Power is now available on all major streaming platforms such as Spotify, Apple Music, Tidal, and more.
The record was released on March 22nd and is also now available.
Brittany Davis's 'Image Issues' Is An Auditory Odyssey of Trials and Triumph
Recorded over a few years, Image Issues is an auditory odyssey of the mind of Davis, serving as a “sonic film” that includes perceptions and recollections with Davis’ innermost thoughts spread throughout.
I had barely been in Seattle eight hours when I saw Brittany Davis performing at the Rabbit Box for the first time. Earlier that day, I had completely uprooted my life, leaving behind my home at an abusive commune and a toxic partner. My mind was in a haze, as I struggled to process that I wasn’t in Los Angeles anymore and that I had made a massive decision that had changed the trajectory of my life. During that time, I felt as if I had jumped off a plane without a parachute and had hopes I’d land gracefully on my feet.
After seeing a post on Instagram, I decided to head over to the Rabbit Box by Pike Place Market since it was within walking distance of where I was staying. The venue was mellow that night and a bit more intimate than I was comfortable with in my confused state. I was accidentally late to the show, with Davis wrapping up their set. While Davis sang, I hung out by the bar, enjoying my first celebratory drink in my new city. At the end of the set, Davis spoke with a conviction on par with a seasoned evangelical. The last song of the night was oddly fitting to the circumstances, “I Choose to Live,” which can be found on Davis’s EP of the same name. Following the performance, I had more of a sense of calm in where my new life was going.
Right off the bat, I admired Davis’s extraordinary ability to capture a room and the immense display of vulnerability laid out on the stage. Davis has a proclivity to not only sing about trauma and adversity but rise above it. Additionally, I noticed that Davis’s unique musical perspective offers an overall message that uplifts the listeners, no matter how they identify or where they come from.
On March 1st, Davis released their debut album Image Issues through Seattle-based Loosegroove Records, which was co-founded by Stone Gossard (Pearl Jam, BRAD, Mother Love Bone) and Regan Hagar (BRAD, Satchel, Malfunkshun). Loosegroove currently boasts an eclectic, yet exciting group of talents which also includes up-and-comer Zoser, Jonny Polonsky, Mason Jennings, U.K.-based bands Tigercub, and James and the Cold Gun, as well as Painted Shield of which Davis, Gossard, and Jennings are a part of alongside Matt Chamberlain and Jeff Fielder.
Image Issues was written, composed, engineered, and performed entirely by Davis and co-produced by Josh Evans (Pearl Jam, Soundgarden, Brandi Carlile). Mentored and championed by Gossard, Davis has let loose on a record unlike anything else available right now… and it certainly does call for a celebration of Davis’s accomplishment.
This past weekend, Loosegroove put on a three-part showcase and celebration of Davis’s work, alongside some other artists on the label. Once again, Davis played an intimate set at the Rabbit Box, which was preceded by a record release party at West Seattle’s storied Easy Street Records. The next day, Loosegroove took residence in the historic Paramount theater for a revue—allowing a stage that’s well-deserved for Davis to exhibit to a larger audience.
Recorded over a few years, Image Issues is an auditory odyssey of the mind of Davis, serving as a “sonic film” that includes perceptions and recollections with Davis’s innermost thoughts spread throughout. It’s an extraordinarily raw portrait of the artist and their existence in a series of songs that traverse genre and are intertwined with spoken word segments entitled “Treadmill Memories.” Through 26 tracks, Davis, to put it plainly, lays their shit on the table and shows us life as a Black, blind, and non-binary musician navigating a world rife with racism, ableism, and fatphobia. One of the main driving forces of Image Issues is that Davis encourages the listener to experience movies and sound as they do.
Davis, for about an hour, takes listeners on a journey of humble beginnings in Kansas City to grappling with cycles of abuse, family incarceration, losing their father, struggling with bodily image, confusing relationship dynamics, and dealing with new success as an artist. Shattering the confines of genre and form, Image Issues launches with a spoken word intro and takes off with tunes that are comprised of house, ‘90s R&B, ‘70s disco and soul, hip hop, and gospel, among others.
Though Davis’s Inner Saboteur lingers throughout the tracks, Davis also teeters between meditations on grief and loss, and lots of frustration, yet is also affirming to themselves and listeners. Toward the end of the record with the song “Soft As the Sand,” Davis takes a step off the cyclical treadmill and moves toward inner peace and self-acceptance. Image Issues, at its core, is a huge middle finger to the box that many Black creatives are so often placed. It shrugs off social expectations and the limits of creative expression. It is a love letter not only to the other “big, broke, Black, and blind bitches,” but to Davis themself.
Some of Image Issues’ standout tracks are the atmospheric “Through the Motions,” the melancholy ode to Davis’s father “Daddy’s Gerl,” the intense “Follow My Lead,” the uplifting anthem “So Fly,” and the crowd-pleasing track “Sepricon.”
Davis’s words were poignant and moved me as a fat (half) Black woman who has been moving past trauma, taking on my image issues, and consistently navigating spaces where I am almost always one of the few, and at times, the only of my kind. At times, Davis’s words were even quite sobering and difficult to digest, but crucial while I work to get off the metaphorical treadmill of my own and continue towards a journey of self-acceptance and healing from abuse and how I sometimes fear how society perceives me.
Following the release of Image Issues and the Loosegroove Revue, I am hopeful to see that Davis’s “sonic film” will reach more people who really could benefit from hearing it. Those incendiary words just might be what they need.
Image Issues is now available on all major streaming platforms such as Spotify, Apple Music, Tidal, and more.
The record was released on March 1st and is also now available.
