Music for 2016 | Part III

This time I have quite a handful of good releases for you guys to check out. You might see most of these on my top 10 at the end of the year. But let's see what else we get until there.

A mulher do fim do mundo

by Elza Soares
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"“Woman at the end of the world, I am, I go on, singing, till the end,” intones Elza Soares on the title track of the Brazilian singer’s 34th album. The tumult that her 79 years have contained is little short of head-spinning – having been born in a Rio favela, she was married at 12, widowed at 21, later wedding the footballer Garrincha with whom she was expelled from the country, and suffered domestic abuse, racism and seen her children die from malnutrition – yet her spirit, as this album attests, is one of emboldened resilience." — Laurie Tuffrey, The Quietus
Anspieltipp: ▶︎ Maria da Vila Matilde

My Woman

by Angel Olsen
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"My Woman is a record coated in the sounds of radio’s past, a potpourri of classic rock gestures and doo-wop sway, yet Olsen’s mindset is anything but nostalgic. Olsen is caught in this moment, in all of its dark inconsistencies and promises of a better world, and rather than offering us a clear statement or dogma to carry forward, she’s given us a collection of songs as willfully gorgeous and twisted as life itself. These are shadowy bedroom anthems, a detailed portraiture of the obstacles we still face as a society, and yet there is a joy coursing through this music that is undeniable and inspiring." — Sam Goldner, Tiny Mix Tapes
Anspieltipp: ▶︎ Sister

Black Lights

by Samaris
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"Black Lights, then, is a summer album for people who just aren't sure if longer days are really something they want to be dealing with right now." — The Quietus
Anspieltipp: ▶︎ Wanted 2 Say

Skeleton Tree

by Nick Cave & The Bad Seeds
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"In July 2015, Cave’s 15-year-old son Arthur—one of his twin sons with wife Susie Bick—died when he accidentally fell from a cliff near the family’s current home in Brighton, England. The writing and recording of Skeleton Tree had commenced before the tragic incident, but the album was completed in its aftermath, and its specter hangs over it like a black fog. This is a record that exists in the headspace and guts of someone who’s endured an unspeakable, inconsolable trauma. And though the songs are not explicitly about Arthur they are uncannily about coming to terms with loss and the realization that things will never be the same again." — Stuart Berman, Pitchfork
Anspieltipp: ▶︎ I Need You

See also: Part I | Part II