More Folk, Less Flash

Marcus King

El Dorado

Marcus King searches for the lost city, and a new identity, on his solo debut, El Dorado. The 23-year-old has been renowned as a blues prodigy, packing face-melting solos and dizzying pentatonic runs into previous records with his band. But El Dorado is a far cry from the flurries of notes the young bluesman is known for — there’s a conscious effort by King to bring his lyricism into the forefront, and letting the guitar take a backseat for most of these 12 tracks. The result is more folk, less flash, but still a generous helping of the blues — like on the opener “Young Man’s Dream,” which carries an undeniable Neil Young influence through its acoustic chords and swelling embellishments. On “Say You Will,” King does launch into a bombastic blues riff, eventually giving way to a fiery solo that would sound at home on a Cream record. It’s the only real indulgence King allows himself on El Dorado, but it’s tasty enough to keep you satisfied for the remaining four songs.

The entire album bears a soulful Nashville charm, courtesy of the veteran hands of Black Keys frontman Dan Auerbach — who not only serves as El Dorado’s producer, but co-writer as well. There’s a warmth to El Dorado that’s evident through even the most sterile computer speakers, a vintage, analogue quality that fits the songwriting across the record. There’s no identity crisis to be found — King is just as commanding as a crooner as he is with his guitar wailing through a cranked-up amplifier. It’s unclear where King will go next, or how much of Auerbach’s influence directed the sound of El Dorado, but King certainly has the versatility to make any shift worth listening to. (Fantasy)

frequently as charming as the lyrics. Bejar and Collins have dialled down the dance influences found on 2017’s ken, but kept the synthesizers. The result is a record propelled by new wave and ’80s pop: see the irresistible OMD-style keyboard hook on “It Just Doesn’t Happen” or the squelching bass and flangeladen guitar on opener “Crimson Tide.”

Despite its digressions, Have We Met is rich and varied enough to offer more than just throwback thrills. It’s further proof that amid both destruction and devotion, Bejar’s voice remains compelling. (Merge)

R& B

BLUES FOLK

El Dorado is a departure from your blues shredder reputation. Was that a conscious decision?

This whole guitar-blues moniker that I received, I never really went after it. When I was a kid there was a really conscious period that I remember when I quit listening to guitar players altogether, because I didn’t want to sound like a guitar player.

Are you still searching for the “Young Man’s Dream,” as you sing on the opening track?

It’s like that city, El Dorado, you know? It doesn’t really exist. It’s more the journey that’s important. If you just keep working for what you want to get, you’ll make a lot of great experiences along the way.

over the proceedings is .Paak — tracks like “Gidget” with T.Nava reveal he’s never too far away, lending the project that much more cred.

Not that the Free Nationals need it: the band’s work with Caesar and Unknown Mortal Orchestra on single “Beauty & Essex” is a known commodity, but a groovy and an unabashedly sexual one, as cool as the cut with Miller featuring Kali Uchis, “Time.” Kadhja Bonet, a regular collaborator with .Paak and a standout artist in her own right, drops the compelling “On Sight” with J.I.D and Miknna.

While various artists-type vehicles do tend to feel disjointed in spots — this one included — the versatility and energy of Free Nationals is bolstered by their upper-tier level of craft, something a lot of backing bands rarely receive credit for. With that in mind, this selftitled outing is a treat. (OBE/Empire)

ART POP

Rather, it sounds like the logical followup to 2015’s Art Angels. It’s a little darker and heavier than that prior record’s vibrant palette, but it still has everything we’ve come to expect from Grimes: “4ÆM” pivots between ethereal ambience and banging beats; “Violence” has a thudding four-on-the-floor pulse; and “Delete Forever” expands on the songwriter’s flirtations with countrypop. Her production relies a little too heavily on swampy reverb, but beautiful hooks still glimmer through the muck. Most notably, blissful closer “IDORU” finds the through-line connecting her formative experiments to her more recent pop polish. Any lyrics about human extinction are mostly lost amidst the echo and Grimes’ high-pitched vocal runs. The only cut that really delivers on the promise of apocalyptic nu-metal is “We Appreciate Power,” although that’s been relegated to a bonus track.

For anyone who has been following her in the press — tabloid romances, eyebrow-raising comments on A.I., claims of experimental eye surgery — the real surprise of Miss Anthropocene is that it actually sounds like a fairly standard Grimes album. She’s a become a controversial public figure whose whole persona is like one big multimedia art project, so this is a welcome return to her wheelhouse. (Crystal Math)