New Music From Johari Noelle, His Name Is Alive
Johari Noelle
Things You Can’t Say Out Loud
(1552 Music)
It took several weeks for this writer to realize why, initially, the debut EP from Chicago, Illinois vocalist and songwriter Johari Noelle stood out to him, among the vast sea of literally hundreds of new releases he wades through every year.
In retrospect, it seems obvious that Noelle is a talented and nuanced R&B singer, straddling a contemporary vibe with more classic soul approaches, but the initial barrier for grabbing this critic’s attention was torn down simply because of its recording style, which feels more palatable than the prevailing over-compressed treatments that many radio-friendly, mainstream recordings employ.
From this, it makes sense that Noelle created the release to “convey a sense of relatability” and also clarified that “It isn’t a niche message for a niche crowd”—although she’s referring to the emotional ground expressed on Things You Can’t Say Out Loud, for this writer, it goes beyond that, into the mood and feelings channeled by the EP’s recording styles.
The ghostly swelling notes and piano tones that begin “CrazyLonely” soon intertwine with artificial beatbox beats, warm backing vocals and synth bass waves, providing a comfy bed for Noelle to show off her vocal abilities atop; halfway through the track, the music shifts into a different direction with elements either slowed or pitch-shifted down, a few oddly lurking tones for a sense of uncertainty and electric guitar lines treated with a subtle chorus effect, giving it an ’80s-style sheen.
A dominant hi-hat/snare/bass drum pattern drives “Regrets”, with Noelle’s echoing vocals and choice moments for her to soar over backing chants of “Should’ve done, could’ve done, would’ve done better.” “Too Much” packs a lot of flavor into just two minutes, with a classic funk swagger and ’70s keyboard throwbacks, letting Noelle show off the dynamics and flow of her vocals.
The EP ends strongly with “Show Me”, with Noelle going from reserved vulnerability with careful vibrato to bold soul balladry, singing out, and although her voice stands out more than her songwriting, it’s a promising debut.
His Name Is Alive
All the Mirrors in the House
(Disciples)
In the liner notes for the new archival release All the Mirrors in the House by His Name Is Alive, Mike McGonigal concludes, “Holy s**t, whatever you think, this music is far better than it has any reason being.”
The statement may seem odd until regarding the album’s subtitle, “Home Recordings 1979–1986”, and knowing that Michigan musician Warren Defever—the sole creative force heard on this album—was only 10 years old in 1979.
And if a fan of, say, Robert Fripp and Brian Eno’s collaborative ambient work (like 1975’s Evening Star), were to hear it, this writer would bet that they would like it, if not love it.
Knowing Defever’s reputation for sometimes fabricating details when interviewed, McGonigal addresses the notion that possibly Defever is simply lying about the birth dates of these recordings—how could a teenager make with modest equipment such gorgeous, serene sounds, with nuance and style?
McGonigal even mentions Defever showing him the dozens of old tapes previously in storage that he commissioned musician Shelley Salant to transfer and to document which tracks were “new agey, ambient, or had echoey guitars.”
Choice tracks were then sequenced and overlapped for All the Mirrors in the House with regards to flow, and these treated piano and guitar parts, field recordings (including water sounds), and vinyl records played at incorrect speeds are transformed into aural pillows that shimmer and soothe.
Defever’s precocious and seemingly instinctual creativity perhaps shouldn’t be a surprise to fans, who might note that His Name Is Alive’s debut album Livonia for the legendary British label 4AD was released in 1990 when Defever was a mere 21 years old—for context, in 1990, other bands on 4AD included Pixies, Cocteau Twins, and Lush.
There are also certain details on All the Mirrors in the House that bespeak Defever’s hard-to-define characteristic styles that are felt throughout his entire career—which spans genres from Beach Boys-esque pop to psychedelic rock to soul balladry and spiritual jazz. He is able to wrench compelling passages from simple two-note or three-note patterns and plays with specific timbres and shaped sounds to make work that’s simultaneously miraculous and earthly.