Phoebe Bridgers


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Stranger in the Alps (2017), 6/10
Punisher (2020), 5/10
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Los Angeles' singer-songwriter Phoebe Bridgers, a member of Boygenius with Julien Baker and Lucy Dacus and of Better Oblivion Community Center with Conor Oberst (Bright Eyes), debuted solo with Stranger in the Alps (2017), the work of an introspective artist that rarely focuses on the melody (Motion Sickness) and has a passion for the macabre (Killer, Funeral and Mark Kozelek's You Missed My Heart).

Punisher (2020) is a more confused work, with generally inferior material. Mostly it has bland songs with bland arrangements, and Garden Song (arranged by Christian Lee Hutson and Marshall Vore), Halloween (one of several collaborations with Conor Oberst of Bright Eyes), and Moon Song (pretty much the only song that is truly hers alone) are the least tedious. The one venture into heavily arranged power-pop, Kyoto (composed by Whispertown 2000's songwriter Morgan Nagler and by her drummer Marshall Vore), is almost an admission that the rest has a limited appeal. I Know the End is the only song that attains some kind of pathos, and it's another exception to the rule, with a rousing Pink Floyd-ian crescendo, thanks to the combined effort of composers and arrangers Hutson, Oberst and Vore.

(Copyright © 2020 Piero Scaruffi | Terms of use )
(Translation by/ Tradotto da Edoardo Ferrara)

Phoebe Bridgers, cantautrice di Los Angeles, membro delle Boygenius con Julien Baker e Lucy Dacus e del duo Better Oblivion Community Center con Conor Oberst (Bright Eyes), fece il suo debutto da solista con Stranger in the Alps (2017), l’opera di un’artista introspettiva che soltanto di rado si concentra sulla melodia (Motion Sickness) e nutre una passione per il macabro (Killer, Funeral e You Missed My Heart, di Mark Kozelek).

Punisher (2020) è un lavoro più confuso, con del materiale per lo più inferiore. Contiene soprattutto canzoni piatte con arrangiamenti piatti, e Garden Song, Halloween e Moon Song sono le meno noiose. L'unico azzardo in power pop pesantemente arrangiato, Kyoto, è quasi una confessione del fatto che il resto ha un fascino limitato. I Know the End è la sola canzone che raggiunge una sorta di pathos, ed è un’altra eccezione alla regola, con un travolgente crescendo in stile Pink Floyd.