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.
Castor, The Twin captures these new arrangements for ten of Dessa's strongest previously released songs. It also includes "The Beekeeper," the haunting advance single from Dessa's new album due in 2012. Vibraphone, piano, viola, and stand-up bass give the record a classical, sometimes orchestral sound for a beautiful and somber effect. The album is immediately identifiable as an intimate recording of live players, with fingers sliding on frets and raw, expressive vocals. The organic instrumentation pushes Dessa's lyrics forward, showcasing the imagery and narratives that define her as a songwriter and an emcee.
The album title references the twin brothers Castor and Pollux of Roman mythology, the pair of bright stars in the Gemini constellation. Pollux was part god, a fighter with metal hands. Castor was the mortal of the pair, but the two were inseparable. After cutting her teeth with her Doomtree cohorts behind the boards, this is Dessa's first record with a wholly organic sound—more tender, human versions of the best material she's released so far.

Aby Wolf

Vocalist and songwriter, Aby Wolf, has breathed beauty upon the Twin Cities for years. She has attained broad recognition as the region's premier vocal talent through stirring solo performances and collaborations too numerous to mention. Her profile has been most notably bolstered by performing as Dessa's secret weapon of harmony for the past six years. One listen to her new album, "Wolf Lords," will show anything but a predeliction for hip hop. She instead finds ample space for her enlightened vocal-pop moves to radiate inside the patient productions of beat mastermind, Grant Cutler (formerly of Lookbook). With textures that range from spare and atmospheric to stomping electro-pop triumphs, "Wolf Lords" astounds with steely personal lyrics delivered with scads of vocal flourish. 2013 will see the entire world considering Wolf a top-flight singing diva, no longer resigned to being the darling of only Minneapolis and St. Paul.

Mathias and the Pirates

Soulful hip-hop made with a punk rock heart.

$13.00 - $15.00

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Dessa with Aby Wolf, Mathias and the Pirates

Tuesday, July 30 · Doors 8:00 PM / Show 9:00 PM at The Firebird