In Another Life

BILAL

eOne/Purpose Music Group

A dynamic shift in artistic approach, “In Another Life” eschews the more collaborative efforts of Bilal’s past. Paring down his army of producers to multi-instrumentalist Adrian Younge, Bilal unravels his twine with a smooth undertow of organ and resequenced drum tracks; like the sirens of which he speaks, he captivates the listener unaware before laying down the sublime “Open up the Door.” Younge provides key grooves, also sharing songwriting credits on every cut in a partnership that will hopefully last.

Hip-hop is represented, mostly by reputation — Kendrick Lamar, whose “To Pimp a Butterfly” earlier in the year featured Bilal, appears here on the key “Money Over Love,” adding an edge to the sensual themes. Prince looms large in this respect, but the album never feels derivative, keeping the basic ideas simple and letting a measure of soul take the forefront. If the subject matter is sometimes plain, like on the premiere single “Satellites,” it is more than outweighed by its unwavering candor. Never feeling burdensome, “In Another Life” is a modest, authentic treasure. 

The Monsanto Years

NEIL YOUNG + PROMISE OF THE REAL

Reprise

Functioning both as the Lukas Nelson & Promise of the Real’s third album and Neil Young’s latest in an indeterminate number more than 30, “The Monsanto Years” is decidedly Young’s brainchild. Young has been fond of his commentary since “Ohio” and collaborations long before that, recording with not only Crosby Stills and Nash but younger, more contemporary groups like Pearl Jam; like “Mirror Ball” with that band, Promise of the Real bow to Young’s vision as he castigates not only Monsanto but the transnational Starbucks as well.

Longtime producer David Briggs told Young to keep his music simple and focused just before his death in 1995. Promise of the Real, who take the idea behind their name from the lyrics of Young’s “Walk On,” are involved only to the point that Crazy Horse ever is, and in terms of pure character they are just as welcome, even passing for soundalikes. The basic songs are uncomplicated and let the musicianship bring out their personalities, giving the album organicity. A few songs do not even name-check big business, instead focusing on autumnal sentimentality and general themes of positivity; as a result the overall feeling recalls “Harvest” more than it does “Living with War.” The music is pleasing, but given time it proves itself to be disfavorably evanescent in nature, not adding or subtracting anything from Young’s legacy.

Travis Johnson lives in New London. Follow him @ThisOldNoise or contact him at thisoldnoise@gmail.com. Read more of his work at theoldnoise.blogspot.com.