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Los Angeles' singer-songwriter Phoebe Bridgers, a member of Boygenius with
Julien Baker and
Lucy Dacus, debuted solo with
Stranger in the Alps (2017), the work of an introspective artist
who rarely focuses on the melody (Motion Sickness) and has a passion
for the macabre (Killer, Funeral and Mark Kozelek's You Missed My Heart).
She formed Better Oblivion Community Center with Conor Oberst (Bright Eyes), which debuted with the album Better Oblivion Community Center (2019).
Punisher (2020) is a more confused work, with generally inferior material.
Mostly it has bland songs with bland arrangements, and Garden Song
(arranged by Christian Lee Hutson and Marshall Vore),
Halloween (one of several collaborations with Conor Oberst of Bright Eyes),
and
Moon Song (pretty much the only song that is truly hers alone)
are the least tedious.
The one venture into heavily arranged power-pop, Kyoto (composed by Whispertown 2000's songwriter Morgan Nagler and by her drummer Marshall Vore), is almost
an admission that the rest has a limited appeal.
I Know the End is the only song that attains some kind of pathos, and it's another exception to the rule, with a rousing Pink Floyd-ian crescendo,
thanks to the combined effort of composers and arrangers
Hutson, Oberst and Vore.
(Copyright © 2020 Piero Scaruffi | Terms of use )
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(Translation by/ Tradotto da
Edoardo Ferrara)
Phoebe Bridgers, cantautrice di Los Angeles, membro delle Boygenius con Julien Baker e Lucy Dacus e del
duo Better Oblivion Community Center con Conor Oberst (Bright Eyes), fece il suo debutto
da solista con Stranger
in the Alps (2017), l’opera di
un’artista introspettiva che soltanto di
rado si concentra
sulla melodia (Motion
Sickness) e nutre una passione per il macabro (Killer, Funeral e You Missed My
Heart, di Mark Kozelek).
Punisher (2020) è un lavoro
più confuso, con del materiale per lo più inferiore. Contiene soprattutto canzoni piatte con arrangiamenti piatti, e Garden Song, Halloween e Moon
Song sono le meno noiose. L'unico azzardo in power pop pesantemente
arrangiato, Kyoto, è quasi una
confessione del fatto che il
resto ha un fascino limitato. I Know the End è la sola canzone che raggiunge una
sorta di pathos, ed è un’altra
eccezione alla regola, con un travolgente
crescendo in stile Pink Floyd.
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