DOUGLAS FIELD relishes the hard-boiled language, satire and humour of the third and last of the Harlem trilogy
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Phoenix by Sadie Jemmett
Nice enough but musically mundane
STEPHANIE BROWN draws attention to the hidden labour of the female embroiderers, and how a 19th century replica made no such error
MIK SABIERS revels in a band that ploughs an idiosyncratic furrow of expletive laden, guitar-driven alt rock
ANDY HEDGECOCK, MARIA DUARTE and ANGUS REID review Synthetic Sincerity, Our Hero, Balthazar, Heartstopper Forever, and A Year In London
The bard invites readers to a gig, raps for Clacton, and lays out the Burnham-Hurzeler conundrum
RON JACOBS recommends an important book that enhances the oppositional theories put forth by Fanon and, in doing so, remakes psychology itself
Sadie Jemmett
Phoenix
(TwoUpTwoDown Records)
IF YOU like MOR US artists like Mary Chapin Carpenter, Beth Nielsen Chapman and Gretchen Peters, then the new album from English singer-songwriter Sadie Jemmett will sound familiar.
A collection of Radio 2-friendly country-folk songs, she moves easily between confessional and introspective ballads and more worldly concerns. Don’t Silence Me takes on the #MeToo movement — “Take your hands off my sister/Didn’t you hear her say NO?” — while The Wilder Shores of Love deals with the refugee crisis.
On Good Friday she sounds a lot like Alanis Morissette, while Leonard’s Waltz finds her talking Brexit, David Bowie and Leonard Cohen.
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