Her latest offering, My Back Was A Bridge For You To Cross, is a revelatory matter an album with DNA coded in sensuality and destiny and healing and heroes, told through vignettes of jazz, Motown, funk and post-disco.Īdorning the cover of My Back Was A Bridge For You To Cross is a portrait of Marsha P. But now, ANOHNI has returned with a Johnsons crew that looks different than it did last decade and a soundscape that is relenting and gorgeously subdued. What a gift Swanlights was for listeners. ANOHNI’s feather-light, weathered and wayfaring vocal runs crackled and pierced through a haze of soft, sure-fire arrangements. There’s a genuine appreciation and affinity for tones and thematics that encapsulate a vast sonic landscape.
A track like “I’m In Love” implemented textures reminiscent of Van Dyke Parks’ Song Cycle, while the piano ballad “The Spirit Was Gone” evoked a cadence and passion akin to Let It Be Me-era Nina Simone. Inspired by the work of Björk, ANOHNI was able to forge experimental R&B with pop architecture.
That project, Swanlights, was a magnificent feat in storytelling, in which ANOHNI and her cohort spoke of ghosts and death and love with delicacy and streamlined vividness. It’s been a long time since English singer/songwriter ANOHNI made an album with her band, the Johnsons 13 years, to be exact.
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