The Dirty Projectors' debut album, The Glad Fact, dwells in the sorts ofemotional ambiguities and contradictions that have always tortured thesensitive ones. Each song offers a new melody that seems to have been sentfrom some erratic and beautiful netherworld. The music is many things atonce: sophisticated and heartfelt, tender and aggressive, pleasing andmiserly in its refusal to please. Longstreth's songs possess a will tosurprise and deceive that constantly defies our expectation of musical --and emotional -- resolution. The songs' brokenness is their resolution,and their most beautiful part.
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