A throw the kichen sink at it and see what sticks sort of record. Quite a bit does but you’ll have to cherry pick. I have mentioned some of what works for me below most. Skim by all means to begin with. But if I’m in any way typical (who knows? It’s hubris to think you are representative of anything much as you’d like to be) the skimming gives way to deeper listening soon enough. Waiting Game is the main point of comparison from TLC’s earlier work given that all the Social Science personnel from that 2019 work are on board. But that core is only part of the ever increasing circles’ rippling spell. It’s like everything is happening at once all the time
Nothing wrong with maximalism in the studio if you have a lot of interesting things to say. TLC – QED. There’s such a lot here all underpinned by thunderous groove and relentless rhythm making but it’s not all about sheer oomph and traction.
And there’s more with a number of writers involved including of course the acclaimed leader and some very starry pals from across several contiguous disciplines, jazz, remants of R&B, what used to be called world music, rap and the broader cultural swim. Fatou is a bit crowded out on Riddim Song and yet this is the danciest track. Shock. Dancing is allowed. Identity Song takes a different tack – Michael Mayo’s vocal finds space the opener pencils in.
Cross rhythms, polymetrical exploration, genre erasure message music and more
There is some sloganising and wise words. Most liberals would find little to disagree with examining the sentiments expressed. But if you are a reactionary conservative deplorable this album isn’t for you. And remember the personal is political. Nobody is afraid.
All these songs have a theme. You could spend time analysing the lyrics and deconstructing them. Is that necessary? Not really. But they can’t be ignored either as belief systems are part of what we are. Lyrics after all are a mysterious thing that transcendentalise when set imaginatively by instrumentalists that then function in a radically different way to the impact of words found inked on printed pagess squirreled away in the library stacks or orbiting online open source as archival pixel dust.
I started thinking more broadly of the wisdom of what Amanda Prynne in Act 1 of Noël Coward’s 1930 play Private Lives observed: “Extraordinary how potent cheap music is”. The simple can magnify, the grandiose shrink. And what works most on this remarkable album is how the power of the pared down shards whether meaning, a lick, tantalising turnaround, the odd word here and there lingering long, simply electrifies.
‘Climate Song’ has like a news report at the beginning, a strong piano line from Aaron Parks and anchored bass note that opens into Terence Blanchard like compositional territory. It’s Parks’ own tune.
He learned a lot from his old boss the great New Orleanian as must Terri Lyne – hear her with the Spike Lee composer and Herbie Hancock on ‘Middle Way’ from back in the day.
TLC’s free the children of Palestine song ‘Children’s Song’ is better with a tender lyric from Lizz Wright. Can’t wait for Wright’s upcoming album.
Matthew Stevens’ ‘Forest Song’ I liked best for the woodwinds voicings and the lulling vocal from South African singer Vuyo Sotashe & also dug the ironic ‘Solidarity Song’ written by TLC and Stevens that satirises redneck selfishness set to a faux hick cowboy groove courtesy of the mighty Waitsian Marc Ribot and James Taylor keyboardist Larry Goldings. Crazzzy Larry – pace the inimitable Hans Groiner – is on Rhombus (differently slanted or what pun intended) out soon.
Ledisi on the it’s my body women’s rights number ‘Autonomy Song’ which riffs off ‘It’s my Party’ – god remember Helen Shapiro’s version [the ex Humph singer is 80 in September] – is another of the best things here when it comes to tiny detail. I liked Ledisi’s own record For Dinah last year which I reckoned was the top jazz vocals album of 2025. She can do no wrong.
