Your support helps us to tell the story
From reproductive rights to climate change to Big Tech, The Independent is on the ground when the story is developing. Whether it's investigating the financials of Elon Musk's pro-Trump PAC or producing our latest documentary, 'The A Word', which shines a light on the American women fighting for reproductive rights, we know how important it is to parse out the facts from the messaging.
At such a critical moment in US history, we need reporters on the ground. Your donation allows us to keep sending journalists to speak to both sides of the story.
The Independent is trusted by Americans across the entire political spectrum. And unlike many other quality news outlets, we choose not to lock Americans out of our reporting and analysis with paywalls. We believe quality journalism should be available to everyone, paid for by those who can afford it.
Your support makes all the difference.Two albums in less than six months may be overestimating the appeal of Devendra Banhart's whimsical warblings. Although both albums were recorded at the same sessions, Banhart himself characterises his debut Rejoicing in the Hands as the mother/observer, with Nino Rojo as the son/participant, its songs presumably driven by a more engaged spirit. The most noticeable difference is in the arrangements, which are more expansive than the mostly solo guitar settings of his debut: the self-consciously corny horns on the coda to "We All Know", and the sluggish piano and percussion of "Noah" and "Be Kind", help to give his songs more of an individual character. What's not noticeably changed is Banhart's lyrical style, which teeters cavalierly on the cusp of surreal nonsense. There's a peculiarly heightened sense of bodily self-awareness, with lines such as "All my fingers ran off and I just couldn't follow them", confirming his reputation as a fabulist. Certainly, his appetite for fables seems un
Two albums in less than six months may be overestimating the appeal of Devendra Banhart's whimsical warblings. Although both albums were recorded at the same sessions, Banhart himself characterises his debut Rejoicing in the Hands as the mother/observer, with Nino Rojo as the son/participant, its songs presumably driven by a more engaged spirit. The most noticeable difference is in the arrangements, which are more expansive than the mostly solo guitar settings of his debut: the self-consciously corny horns on the coda to "We All Know", and the sluggish piano and percussion of "Noah" and "Be Kind", help to give his songs more of an individual character. What's not noticeably changed is Banhart's lyrical style, which teeters cavalierly on the cusp of surreal nonsense. There's a peculiarly heightened sense of bodily self-awareness, with lines such as "All my fingers ran off and I just couldn't follow them", confirming his reputation as a fabulist. Certainly, his appetite for fables seems undiminished here in the anthropomorphic animal crackers of songs like "Little Yellow Spider", where, alongside a menagerie of spider, monkey, crab, turtle, albatross and squid, there's a sexy pig who "made it with a man, and now you got a little kid with hooves instead of hands".
Join our commenting forum
Join thought-provoking conversations, follow other Independent readers and see their replies
Comments