David Byrne’s American Utopia, launched in 2018 as a resistance manifesto and rallying cry throughout the first Trump administration, was as formidable as its title. Starting as a songwriting reunion along with his outdated accomplice Brian Eno, the album ballooned right into a Broadway manufacturing that was ultimately captured on movie by Spike Lee. Each iteration and star collaboration positioned American Utopia as a serious assertion, a reckoning with the gap between the illustrious promise of the USA and its benighted actuality.
Arriving in spite of everything that commotion, Who Is the Sky? seems like a sigh of aid, an exhale after such a gargantuan endeavor. The 2 albums, so completely different in really feel, derive from the identical premise: Pleasure is treasured within the twenty first century, so it’s price celebrating the explanations to be cheerful. That phrase, lifted from an outdated new-wave hit from Ian Dury & the Blockheads, is the identify of Byrne’s ongoing cross-platform positivity undertaking, a form of Buzzfeed for relentless optimists. It wouldn’t be a stretch to think about What Is the Sky? an extension of that publication: These songs are designed to assist get you thru the day—vivid, colourful tunes that place a premium on human interplay. However an album is a special beast than a each day dose of motivation. The road between positivity and platitude is a effective one.
Byrne definitely sounds tirelessly exuberant on What Is the Sky?, thanks partially to the help he receives from Ghost Practice Orchestra, a freewheeling ensemble that’s no stranger to formidable undertakings. Previous to teaming with Byrne, the collective launched a tribute to visionary polymath Moondog, carried out in collaboration with avant-classical veterans Kronos Quartet. If any group can navigate Byrne’s buoyant polyrhythms and sly stylistic shifts, it’s Ghost Practice Orchestra. However Who Is the Sky? is just not supposed as excessive artwork: It’s designed to be a bustling pop album, so Byrne has introduced in producer Child Harpoon—a British musician who’s helped Harry Kinds and Miley Cyrus take residence Grammys—to produce the requisite pizzazz.
Don’t take Child Harpoon’s presence, or the cameo from Paramore’s Hayley Williams on the galloping “What Is the Purpose for It?,” as an indication that Byrne is tempering his eccentricities in hopes of reaching a broader viewers. Child Harpoon’s glowing manufacturing provides Byrne the liberty to stay loud, pushing his eccentricities to the intense, a shift that’s evident the second “All people Laughs” launches the album on a be aware of aggressive happiness. Yelping a laundry record of banal universals (“All people laughs and all people cries/All people lives and all people dies”), Byrne seems like an over-caffeinated busker determined to get passersby to affix the social gathering. His zeal steamrolls any trace of the darker aspect of human nature (“All people is aware of what all people does”), as does the zest of Ghost Practice Orchestra: They’re all clashing main colours.
