Dessa

From its first track, Dessa’s new full-length Parts of Speech (6.25.13, Doomtree Records) announces itself as something different. The Doomtree veteran and inveterate wordsmith — having proved her mettle in the fields of creative non-fiction, spoken-word and hip-hop — jettisons all genre expectations on “The Man I Knew” and croons a heartbreaking lament to a disintegrating relationship at an explosively-building clip.

From this moment on Dessa — oft--described as “Mos Def plus Dorothy Parker” for the wit and flow shown off on previous solo albums A Badly Broken Code and Castor, The Twin — proves she has truly coalesced as an artist, transcending the restrictions of genre to reveal an astonishing multi-platform voice.

“I wanted to investigate the idea that a cohesive record isn’t always made cohesive by having twelve songs that sound the same. I figured when you make a mixtape for a friend, you can get away with a range of genres and a lot of dynamic change. Why can't I approach an album like that? The sequence has to be just right, and we worked hard to nail it, but the thing that holds this record together is the sensibility of the lyrics, rather than a uniform theme.”

Track two kicks off a stunning hat-trick of the record’s standout numbers. “Call Off Your Ghost” is an admittedly haunting dirge on the “struggle for grace in the wake of a long relationship.” An arena-sized chorus tucked into a melancholy lullaby, “Ghost” has that unique ability to perfectly soundtrack new love or bitter breakup at the same time.

Dessa then puts her fists up for “Warsaw.” The track boasts a beat like Azealia Banks playing Pacman, which provides a background for our emcee’s confident, hypnotic flow. Narrative takes a backseat to mood here, as Dessa spits impressionistic one-ups like “I sleep with both eyes open, standing up,” daring you to blink first.

“Skeleton Key” contains Parts of Speech’s mission statement: “I haven’t met a locked door yet.” An ode to female self-reliance that doesn’t waste ambiance for message, the track plays like a great, lost M. Night Shyamalan movie, calling forth an era out of time in the story of a woman, a key and a bottomless reserve of courage.

“This record involves multiple narratives. It explores the same themes of love, loss, connection and communion as a lot of my work, but the angle and lens through which they're explored sets this album apart from my previous ones. The production techniques were new for me too — we spent a lot of time crafting a record that could include live players, Doomtree production, and sometimes a blend of the two."

While the album is born of Dessa’s artistic vision, it benefits from the collaboration of her varied friends. Parts of Speech owes much of its impact to its diverse production. Dessa got her start as a member of Minneapolis hip-hop collective Doomtree — eventually going on to help manage the group's business affairs as they launched their own label — and members Lazerbeak and Paper Tiger lend their production to several tracks.

The players in Dessa's live ensemble all contributed to the record, as did several top-flight Minneapolis musicians working in rock, folk, and opera. She even enlisted a cellist she found on Pandora to make the gorgeously-layered foundation of penultimate track “It’s Only Me.”

Dessa, born and raised in Minneapolis after her parents met at a Duluth music store, was valedictorian of her high school, eventually skipping a year of college and graduating with honors before she could legally drink. Armed with a philosophy degree, the intrepid Midwesterner spent her nights as a waitress and days writing reference manuals used by doctors in the implantation of pacemakers.

“Language and verbal communication were important in my family. If I could argue my way into a later curfew, that argument was entertained. My parents may have regretted that policy later but it was a great motivator to help me develop a facility with words."

A love of words is evident in both Parts of Speech’s title and its ethos, as Dessa’s philosophy training surfaces too. The rousing chorus of “Fighting Fish” references the Greek philosophical paradox of Zeno’s Arrow. “Beekeeper,” polished up from a starker appearance on Castor, finds Greek god Prometheus repossessing fire from the humans. “Sound the Bells” sings of Mercator, the cartographical genius who pioneered flat maps of a round world.

Parts of Speech could be made by no one but Dessa, but in its evolution and awareness it is the perfect culmination of the journey started with 2010’s A Badly Broken Code. Middle album Castor, The Twin was in many ways a blueprint for Speech. The earlier albums were praised widely for their focus and depth, but Speech shows a fantastic breadth.

By uniting a wealth of different tones and narratives under Dessa’s unmistakable poeticism, Parts of Speech greatly resembles Sherwood Anderson’s modernist fiction classic Winesburg, Ohio. Dessa creates a new world, populating it with complex characters, beautiful sonic landscapes and refreshing, assertive production.

An album that can boom out of a car window after its summer release, or soundtrack a November night in, Parts of Speech marks a highpoint in Dessa’s career and demonstrates the crossover power of the rising star’s burgeoning arsenal.

-Zack Rosen

Life and loss and dance parties. Sex and love and fractal math. Sims wrote More Than Ever last winter in the wake of some personally trying times: death and sickness in his immediate circle of friends and family. And he decided that the only acceptable answer to big loss is big joy—urgent, defiant, unapologetic joy. The thirteen tracks on More Than Ever capture Sims coming to, and living out, that conclusion.

Sims grew up in Minnesota, an active part of the busy and fiercely independent Minneapolis hip-­‐hop scene. In high school, he made friends with the classmates that would eventually become his cohorts in Doomtree—the seven-­‐member rap collective now responsible for some of this era’s most interesting, genre-­‐defying releases. Over the past decade Sims has released a host of projects, both as a solo artist (Lights Out Paris, Bad Time Zoo, Wild Life EP, Field Notes) and as a member of Doomtree (No Kings, All Hands, and many others.) He’s toured the world from Pittsburgh to Prague, playing festivals like Glastonbury, Riot Fest, and SXSW. He’s earned and re-­‐earned his reputation as a thoughtful artist with an unstoppable live show. (When he calls “both hands up-­‐-­‐now both feet up” rooms around the world have felt their floorboards flex as the entire crowd goes airborne.)

To create More Than Ever, Sims enlisted the unrelenting and adventurous production of Lazerbeak, Paper Tiger, and ICETEP. Sometimes take-­‐no-­‐prisoners, sometimes take-­‐the-­‐slow-­‐road, the drums are crushing and the soundscapes are expansive. After many long days and nights sequestered in his South Minneapolis basement, Sims emerged with the most honest first-­‐person account he’s ever recorded-­‐-­‐he wrestles with some demons, faces down his doubts, and allows us in on the dirty work of change and growth and revelation. But, true to form, he does it with swagger, wit, and bar-­‐crushing style. Huge ideas, concisely delivered over epic bangers without ever feeling overwrought. On songs like “Brutal Dance” and “OneHundred” Sims crafts an earnest mission statement while the razor sharp wordplay, insight, and quick quips prevent him from ever taking himself too seriously. The result is a 45-­‐minute rollercoaster through the highest highs, the lowest lows, and all of the love and hope between them.

Dodging American Idol nearly her entire singing career, Aby Wolf has still managed to become one of the most highly regarded female vocalists in the Midwest. Wolf has sung and collaborated with an extensive list of artists that reads as a “who’s who” of Minnesota music notables. Aside from having a Bat-phone type deal that connects her and Dessa when the Doomtree star is in need of a backup singer (Dessa as Commissioner Gordon and Aby as Batman in said analogy), Aby has worked with the likes of everyone from loop warlock Martin Dosh, chamber-folk sextet Dark Dark Dark, veteran songwriter Adam Levy, fun-loving lounge trio The New Standards, and Rhymesayers’ BK-One and Brother Ali. Engendering her own music vision all the while, she transcended the title of “emerging artist” when in 2009 she won the City Pages’ best female vocalist award. Wolf continues to wow crowds this year with her current power-pop project “Wolf Lords,” a collaboration with beat mastermind Grant Cutler.

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