Album assessments: Liz Phair, Georgia Anne Muldrow, Rostam | Arts & Leisure

Even though Liz Phair final released an album of new product in 2010 (the regrettable…

Even though Liz Phair final released an album of new product in 2010 (the regrettable “Funstyle,” her diversion into hip-hop), she’s been rebooting her occupation for the earlier couple of yrs. In 2018 she unveiled an expanded edition of her ’90s typical “Exile in Guyville” like early “Girly-Sound” demos. Then in 2019, she revealed the memoir “Horror Tales.”

“Guyville” established Phair as a bracing, iconoclastic voice, ready to attack indie-rock’s male hegemony and celebrate female sexual desires. Her new release, “Soberish,” reunites her with “Guyville” producer Brad Wooden, and it has some of its predecessor’s punchy tunefulness and raunchy directness.

Phair is too self-informed and self-possessed to try out to recreate her youthful brashness, but she has held on to her sharp tongue (affectionately demanding Lou Reed on “Hey Lou,” a highlight) and sexual urge for food (on the too-obvious “Bad Kitty,” not a highlight).

“Soberish” does not neglect the pop chops she honed in the center of her profession (which spawned the 2003 hit “Why Just can’t I”). While it foregrounds indie rock swagger, it can make home for the sweet ballad “Lonely Street” and the understated electro-pop of “In There” and heaps of impressively intertwining vocal traces.

“There’s so a lot of means to f— up a daily life/ I check out to be first,” she sings in “Good Side,” and a lot of “Soberish” finds Phair equally celebrating and regretting issues, so it is apt that the album’s inconsistency, like her career’s, is section of the over-all attraction. — Steve Klinge

(Foreseen Enjoyment *** 1/2)

Ga Anne Muldrow’s new album comes with a mission statement.

“’Vweto III’ is meant for movement,” she writes on her Bandcamp web site. “It’s to be performed when you beginning you again outside the house soon after a extended introspective period … it intends for you to be your own superhero.”

To reach that inspiring purpose, Muldrow has composed and manufactured a mostly instrumental 3rd movement in her trio of “Vweto” albums, which just take their name from the word for gravity in the Congolese language Kikongo.

There are visitor vocals from rapper Ayun Basa and singer Shana Jensen, but usually everything is carried out and programmed by the album’s auteur, who is the daughter of jazz guitarist Ronald Muldrow. Her songs convey’s a soulful authority — she’s often as opposed to Nina Simone — but it’s also restlessly twitchy (and glitchy) as it reaches for a greater aircraft.

Erykah Badu, with whom she collaborated on the 2008 tune “Master Trainer,” has likened Muldrow to “the female Jimi Hendrix, the youthful Marcus Garvey, swinging audio like Stevie Question.”

Muldrow’s facility with vintage keyboards is shown on “Synthmania Rock” and “Passin’ Ooout!” Hip-hop weighty jams such as “Boom Bap Is My Homegirl” revel in very low-close rhythm. “Action Groove” remembers the 1970s collision of Kraftwerk and hip-hop, and “Grungepiece” is a appreciate letter to Jamaican dub.

It’s a speculate that the 37-year-outdated Muldrow — who’s produced 21 albums — has remained a lot less perfectly identified as a producer than male kindred spirits like Traveling Lotus. But with very last year’s “Mama You Can Guess!” and now “Vweto III,” Muldrow’s attractive new music is having the notice it justifies. — Dan DeLuca

Rostam’s “Changephobia” seems like the generosity of spirit we owe each individual other this summer time. Right after 15 months of pandemic isolation, the tunes are like a refresher class in human experience.

Could we be so fortunate as to lay our heads on someone’s shoulder in a cab to the airport once again (“From The Back again of a Cab”)? Can we get again to living alongside one another “for three evenings in a lodge/ Listenin’ to site visitors underneath a blanket” (“Kinney”)?

Each individual working day that feels a little closer to “yes” is a working day that seems like “Changephobia.”

Rostam, formerly of Vampire Weekend, has expended the final handful of decades generating his possess solo documents and creating for other artists (Frank Ocean, HAIM and Solange, amid some others). His prowess as a pop songwriter is obvious throughout the 11 tracks on this new launch, which mixes baritone saxophone, jangly guitar, delicately plinked piano and dance-y drums with his mild, prayerful voice.

He sounds like James Blake or Donnie Emerson when he goes reduced and sensual (specially on the title observe), and previous bandmate Ezra Koenig when he will take matters superior and sensitive (“Starlight”).

On his very last album, “50 {d336d22fa8618a5f7552de079ea4a1d7eae449cfa6c211953fbc87b3a4dc0428}-Light-weight,” Rostam’s strategies were being splayed across the ground, separately desirable but without having a unifying eyesight. Below, with Henry Solomon’s saxophone giving quiet shape to the background of most tracks, he’s brought everything together. — Jesse Bernstein

©2021 The Philadelphia Inquirer. Visit Dispersed by Tribune Articles Company, LLC.

Copyright 2021 Tribune Content material Company.