With the world – and the arts world with it – shuttering its doors amid COVID-19’s havoc, life as we know it has sputtered to a standstill. That doesn’t erase the months or years that bands and musicians had poured into preparing albums slated for a release whose timing turned out to be impeccably poor. But that also doesn’t discount the quality or relevance of new music – in fact, I would say their importance is heightened. As everyone is hunkered at home, craving stimulation, I decided to take a look at some of the Ghost Albums – recordings being released to slightly less fanfare than they may otherwise have been, hiding behind the confusion and surreal backdrop of a nation under lockdown.
Weston Olencki – Solo Works (modern classical/avant-garde/metal), Creative Sources Recordings –: This album was scheduled to be released on April 6, but they decided to release the album early, on March 20. This is one of the most brutal solo albums I’ve ever heard. Olencki’s suggestion to “listen to this LOUD” wasn’t a joke. While it’s an album of solo performances for bass trumpet, trumpet, trombone or euphonium, the performances sound like the music of wind turbines, ventilator air shafts, or all sorts of broken and malfunctioning machinery. Without the use of electronic processing or overdubbing, Olencki brings brass instruments to an otherworldly place. Recent ventures into the extreme uses of wind instruments by folks like Colin Stetson or Rebekah Heller barely come close to sheer abrasive limits to which he takes instruments typically associated with Bach or Wagner. With only four songs on the 45 minute album, it comes across as a response, a comment, a perspective on the truly dystopian surreality of the times in which it was released. Development of these pieces began about three years ago, according to Olencki. The album is available digitally at https://westonolencki.bandcamp.com/album/solo-works.
Soraia – Dig Your Roots (rock), Wicked Cool Records: Philadelphia rockers Soraia hit hard, and straight, delivering a booze-soaked revelatory party that is infectious and well needed in these days. “I’m all about playing a fun song and throwing myself around. That’s rock ’n’ roll at its heart,” lead singer ZouZou remarks. “But I’m also about telling the stories of resurrection and life and hope and darkness.” Coming from a multicultural family, with Egyptian and Belgian parents, the album has a message of being proud of who you are and embracing our differences. Perhaps the music doesn’t exactly represent the sound of deserted streets and empty, shuttered bars, but it can give you that electric jolt of energy and party joy that is distinctly missing right now. Despite the album’s release on Friday, March 13, via Stevie Van Zandt’s Wicked Cool Records, ZouZou told me that they’ve had enthusiastic and positive response from a well-established fan base. Their last album was 2017. Check out more at soraia.com.
Tony Holiday – Soul Service (Americana/blues), Vizztone Records: Holiday’s debut record, slated for April 24, has been pushed back to July 10, which is a shame, really, because his album’s soulful blues approach is so, so, soooo laid-back and comforting, and it’s exactly what’s needed in these long-drawn-out days of quarantine and isolation. Holiday’s singing reflects the days when the blues was transitioning and cross-pollinating with soul music: sad but uplifting, heartfelt, and always exceptionally cool, never forced. Holiday put together a spectacular band from his hometown of Memphis, produced by Ori Naftaly of Stax Records. I’ll be looking for the full release. In the meantime, there’s been one song teased, “It’s Gonna Take Some Time,” a good mantra for all of us to take as we wait out this epidemic. Go to tonyholidaymusic.com.
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