Anohni & the Johnsons - My Back Was A Bridge For You To Cross - White - VINYL LP

2LP 200 gram super-heavyweight vinyl. 'Robert (Fripp) turned up with a truck load of amps and effects, two great big stacks including delay units with a 76 second delay and played and played and played. ' Though not intended as such, in some respects Leviathan and it's creators represent between them one version of the history of British electronic music. In 1973, the curiosity of a significant chunk of the King Crimson and Roxy Music fan bases, along with an attractive price, propelled Fripp & Eno's No Pussyfooting into many thousands of homes where no such recording had previously registered a single sleeve, much less a gatefold. By the early 80s Dave Ball & Marc Almond's Soft Cell were at the forefront of a wave of synth based bands who dominated the singles and albums charts. In the 1990s, The Grid - Dave Ball (again) & Richard Norris formed a key act in what was sometimes referred to as Electronica, sometimes herded under the (almost meaningless) InchDance musicInch category, occasionally (equally inaccurately/narrowly) described as InchambientInch music, the struggles of music industry name-taggers never quite catching either the breadth of the music involved, nor recognising - until much later - the scope of it's influence. The Grid's success - a number of hit singles and albums, including the million selling InchSwamp ThingInch, world tours, remixes for Eno, Pet Shop Boys, Yello, Sylvian/Fripp - could find a ready audience among those for whom, by now, electronic music was part of the everyday musical fabric and commonality of experience, even as it continued to evolve and develop as a form in itself. The Grid were managed at the time (1992) by David Enthoven who had also managed King Crimson and Roxy Music from inception for many years and by now with a Sylvian/Fripp remix among their producing credits, it is no surprise that the duo and Fripp were keen to se

My Back Was A Bridge For You To Cross, ANOHNI's 6th studio album, shape shifts through it's subject matter the loss of loved ones, inequality, alienation, privilege, denial, ecocide and the tidal power of Earth, isolation, Future Feminism, and the intention that we might yet transform our ways of thinking, our religious ideas, our societal structures, and our relationships with the rest of nature. On her first full album since 2016's HOPELESSNESS, she explains the creative process was painstaking, yet also inspired, joyful, and intimate, a renewal and a renaming of her response to the world as she sees it. InchA couple of these songs are almost a response to the call of [Marvin Gaye's] What's Going On, from 2023. They are a kind of an echo from the future to that album from 50 years ago.Inch ANOHNI places her heart on the line and in a groove in the opening track InchIt Must Change,Inch describing systems in collapse with a note of compassion for humanity InchThe truth is I always thought you were beautiful in your own way / That's why this is so sad. InchScapegoatInch waivers between tenderness and instrumental brutality. The primordial, Kali-esque curse InchRestInch positions the record at moments in conversation with experimental rock of the 1970s. Her voice is sensual and smoothed, selectively reaching to the edges of what it can contain. InchI don't want you to be dead, I can't accept it,Inch she cries out at the climax of InchCan't.Inch InchHow sweet the vista, the portal view / On my way to black and blue,Inch she grieves on InchSliver of Ice,Inch a remembering of some of the last words Lou Reed shared with her. A record it's creator acknowledges is inextricably both personal and political, and one that is full of heartfelt music that also questions it's own right to be heard, My Back Was A Bridge For You To Cross demonstrates music's unique capacity to bring

The dynamic young American pianist John Wilson first encountered Michael Tilson Thomas in 2015 when he was a fellow with the New World Symphony. John's protégé status quickly evolved to that of close confidant and collaborator, leading to this solo debut album featuring the world-premiere recording of the title track, MTT's three-movement suite for piano, Upon Further Reflection. MTT explains innumerable influences that are embedded throughout the work, including the piano music of Debussy and Schumann, bossa nova, gamelan, ragas, Monteverdi, Berg and Peggy Lee's rendition of the song Alley Cat, all of which Inchflowed together in a way that seemed completely natural... to me anyway.Inch In 2019, John premiered a portion of Upon Further Reflection that was broadcast live on MediciTV to an audience of over 50,000. John embellishes the album's Americana theme with two titans of the solo piano repertoire - Aaron Copland's early Piano Sonata - a work lesser-heard than the composer's other works for solo piano - and Earl Wild's virtuoso arrangements of seven of George Gershwin's most iconic tunes.