Recorded in a converted New Orleans–area church over six days, Redemption is a jambalaya of Chicago blues, New Orleans funk, and robust soul. On the standout “Chariot,” Glen David Andrews’s voice rises with gritty passion as he trails into the song’s tag, borrowed from the spiritual “Sweet Home Chariot”:
On the mostly instrumental Pieces, JoyCut takes the sonic hallmarks of the 1980s New Wave era—from shimmering, echo-plastered guitars and propulsive picked bass to dysmorphic synthesizer pads—and reconfigures them in thrilling fashion.
Throughout this disc, Marco Di Maggio shows the versatility of a guitarist with an uncanny mastery of 1950s and ’60s surf, rockabilly, and country styles. On the lovely and gentle “Polka Dots & Moonbeams,” you’ll hear shadings of Wes Montgomery’s octave guitar riffing, along with the shifting jazz-pop chords of Chet Atkins.
I praise the necklace so long it drapes, loops, and circles the neck of a grieving dowager back to her girlhood play.
Yet, I praise the darkening urine of amber beads and the fears engendered by bloodstone;
I praise red coral—millions of gifts piled by sea creatures’ lives. Under the hard western sky, I praise grimy hands, fashioning turquoise squash blossoms for the necks of tourists. I praise the poor woman’s subterfuge, Zircon, and the queen’s throngs of golden chains.
I praise Nancy Pelosi’s pearls,
the sound-taste of chrysoprase, citrine’s juiciness, opal’s sparks, amethyst’s rumored temperance.
I praise the jeweler’s loupe, peeking down from its glass copula into jasper’s chocolate smear purloined from Heaven’s walls.