Moses Sumney, Græ | Album Review 💿

Alternative singer/songwriter Moses Sumney delivers one of the most ambitious musical projects of 2020 with sophomore album, Græ.

In an age where conformity runs rampant, and experimentation and innovative spirit seem to be null and void, there’s a musician like Moses Sumney. Sumney ranks among the more distinct musicians of present, unafraid to try new things.  He blends multiple styles, best placed under the umbrella of alternative. That said, alternative is just a springboard for the musician, who follows his critically acclaimed debut album, Aromanticism (2017), with another superb offering, Græ.  Where Aromanticism just runs past half-an-hour, Græ is more prolific – a double album approaching 70 minutes over the course of 20 tracks.  Worthwhile? You bet!

💿 1: græ: Part 1

“Cut Me”

I’d argue the first disc of Græ – græ: Part 1 – is the most adventurous. Comprised of 12 tracks, the album commences with an interlude, “insula.” The premise of the intro? We receive an explanation of the title from Taiye Selasi (“Isolation comes from ‘insula’ which means island”), while a second interlude by Ayesha K. Faines sends us “into the græ.” ✓ “Cut Me” appears as the first full-length song. It’s perhaps best described as an experimental soul record.  The backdrop definitely hearkens back to the past, and Sumney clearly states his intentions to pay tribute to Aretha Franklin. Vintage to an extent, it isn’t straightforward, with plenty of surprises, even with horns, piano, and soul instrumentation.  Sumney delivers an incredibly colorful, playful performance.  Sure, he ascends into a gorgeous, ripe falsetto, idiomatic of R&B and soul, but he takes ample risks, creating something that’s actually much newer than it is so much nostalgic.

The lyrics are poetic, which may be cliché, but simply put, they were so thoughtfully and carefully penned.  There are no shortage of highlights, whether it’s “That’s when I feel the most alive / Masochistic kisses are how I thrive,” “Endurance is the source of my pride,” or the personal “Guess I’m a true immigrant son / No vacancies, no vacations.” As for the cutting, it appears on the chorus:

“Might not be healthy for me but seemingly I need
What cuts me, cuts me, cuts me, cut me, cut me, cut me.”

“In Bloom”

✓ “In Bloom” continues the moment established by “Cut Me.” From a purely musical standpoint, it features a number of notable features.  The harmonic progression has some stellar twist and turns, including ascending chromaticism that works splendidly.  The production itself is quite inviting – lush, warm, and romantic.  The romantic sound definitely matches the lyrics, where Sumney explores a relatable topic – unrequited (one-sided) love/mixed messages.  Poetically, he sings, “In my heart, in my chest, six feet beneath the flesh / When you held my hand, but you signed, ‘BFF’.”  At the end of the second verse, he just cuts straight to the chase: “Sometimes I want to kiss my friends.” 

The creative ✓ “Virile” moves on from unrequited love to explore a different topic: virility. While masculinity is implied in music often, it’s not always explicitly or even poetically explored. Sumney seems to argue against society’s penchant for ‘one dimensional,’ predictable masculinity – certain societal norms if you will.  The chorus represents one of the best moments on this colorful blend of pop, rock, and alternative soul:

“Desperate for passing grades
The virility fades
You’ve got the wrong guy
You wanna slip right in
Amp up the masculine
You’ve got the wrong idea, son.”

✓ “Conveyor” benefits from some unique musical cues, including the percussive sound effects, as well as some vocal effects from Sumney emulating the rhythm of the programming.  Besides those effects, he delivers some stellar falsetto on the simple but effective chorus.  As impressive as the wild backdrop is, not to mention Sumney’s vocals, it’s the theme and lyrics that really shine.  Here, Moses explores the ends people will go to leave their mark on the world, including “The carpenter bee [that] dies when he finally leaves a sting,” or the less heralded (“I will step on a belt, put my life on a shelf, one of many”). The thought-provoking number segues into the brief interlude “boxes,” which speaks about the power of defining roles, particularly for black women and men.

“Gagarin”

The slow-paced “Gagarin” runs nearly six minutes in duration.  Musically, it’s filled with color, including lush, jazzy piano and the vocals, which are pitch-shifted.  Interestingly, Sumney references matters of the universe (Earth, rotation, galaxy, asteroids), while repeatedly asserting, “I give my life to something / Something bigger than me.”  Experimental by all means, it’s also quite alluring; stunning.  Sumney follows up with further references to masculinity – virility – on “jill/jack,” the sole collaboration of Græ. A brief number, on this unorthodox yet intriguing duet, Jill Scott takes the lead for the majority.

“Colouour” continues the ambitious spirit of Græ. The music alone does that, with the sublime saxophone playing (FKJ and Shabaka Hutchings).  Sumney sings only one verse, but stays on topic referencing color (earth tones, grey hues, shades of blue).  Interlude “also also also and and and” follows, featuring additional glorious saxophone (FKJ), not to mention more thought-provoking ideas via the spoken word commentary (Taiye Selasi and Ezra Miller).

“Neither/Nor”

“‘Cause in the valley of the sure / You cannot be neither/nor / You’re fated to pick a door / Only the lonely are lukewarm.” Wow, that’s deep, but also, true. The heady, thoughtful, and philosophical nature that’s characterized the album continues on the penultimate number from græ: Part 1, “Neither/Nor.”  With more ‘challenging’ songs that push the listener, closer ✓ “Polly” is actually more accessible – much more straightforward.  While ambition is more often than not a pro, sometimes, too much can overwhelm. “Polly” definitely provides balance; a calming force.  Still, there’s a level of complexity, definitely captured by select lyrics such as, “If I split my body into two men / Would you love me better,” which courts polyamory. This is later confirmed by the colorful lyrics of the third verse, where Moses sings:

“One, two three, four, five, six
Am I just your Friday dick?
Cornucopia of just-in-cases
You’ll never have to chase this.”

Beyond some key lyrics, the primary accompaniment is guitar, with some accentuating synths and an amazing, layered vocal arrangement.

💿 2: græ: Part 2

“Two Dogs” 

✓ “Two Dogs” initiates the newest material of græ (Græ: Part 2).  A gorgeous ballad, at the most basic level, Moses Sumney literally reminisces about two dogs.  However, as is the case with the majority of the album, there’s always a ‘bigger message’ or at least more than basics.  Specifically, things get more unsettling as you listen and read the darkly poetic lyrics, particularly, “I found two dogs / On the hot concrete on the back porch / One in amniotic vomit / The other in feta l contort… Strange how what heals can also kill.”

No momentum is ceded on ✓ “Bystanders” where Sumney’s wisdom is spot-on on the chorus: “Don’t waste your candor / On bystanders / They’ll watch you waste, waste, waste, waste away.” Basically, why spend your energy on those that are unimpressionable, unimportant, and etc.  Like “Two Dogs,” while Moses continues to be intentionally ‘alternative,’ græ’s second disc certainly feels a bit more accessible early-on compared to the first.

The best song of the opening trio is the falsetto-laden, reflective ✓ “Me in 20 Years.”  I love the melodies used throughout this sublime ballad, which ranks among the sleekest cuts.  The chorus is also quite accessible, even with slight variations throughout.

“I wonder how I’ll sleep at night
With a cavity by my side
And nothing left to hold but pride, will I
Hold out for one more time?”

“Keeps Me Alive” 

The intimacy of ✓ “Keeps Me Alive” is appreciated, finding Sumney accompanied merely by soulful guitar.  Likewise, his vocals are soulful, again spoiling us with a masterful falsetto that sounds effortless.  “Keeps Me Alive” is one of the few songs on Græ that might be strictly characterized as pop or R&B, depending on how it sounds to you. 

While “Lucky Me” retains a minimalist spirit, it trades the guitar of “Keeps Me Alive” for keyboards and strings. Furthermore, there is some vocal layering, even though the majority of the time, it’s Moses, performing solo over the hypnotic backdrop. Worth noting, he collaborates with James Blake (writing, some instrumentation additional production). “Insula” makes a return via another Taiye Selasi interlude, “and so I come to isolation,” where Selasi ultimately asserts, “I’ve been islanded [my whole life].”

Penultimate record “Bless Me” is the final full-length record that graces græ. Once again, Sumney successfully blends alternative, pop, and rock seamlessly. A love-centric, sexy number, it’s definitely a pleasant coda. Interlude “before you go,” previously featured on 12 Simply Terrific Before or After Songs, concludes featuring Michaela Coel, Ezra Miller, Taiye Selasi performing dialogue. Besides the dialogue, key features include the prominent bass, piano effects, and background vocals that help establish quite the vibe.

Final Thoughts 

All in all, Moses Sumney delivers quite the ambitious and intriguing album with Græ.  Though it can be a challenging listen at times, particularly with such a long runtime, it’s well worth both the challenge and duration.  Sumney shows off his amazing musicianship, from superb lyricism to absolutely outstanding vocals.  If you’re in need of music that exhibits innovative spirit with a vast number of clever ideas and though-provoking lyrics, Græ is the album for you. 

✓ Gems: “Cut Me,” “In Bloom,” “Virile,” “Conveyer,” “Polly,” “Two Dogs,” “Bystanders,” “Me in 20 Years” & “Keeps Me Alive”  

Moses Sumney • Græ • Jagjaguwar • Release: 5.15.20

Photo Credit: Jagjaguwar