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.
Why does the moon seem so intent to cry, and yet it is your tears that give us dew? Why do the flags grasp silently at wind? Why does the sun refuse to let me stare, and yet it is your hand upon my face that burns? Why does my mother die without remembering my name, while she still sings in church? Why does the IV bag float like my prayer does in this emptiness? Where was it that I lost my way? Why do I see the cross in window panes, in two downed branches broken in the road, in shirts hung out to dry? Why does the mystery of faith sustain us when we keep on asking such questions? Why must we ask such questions?