July 25, 2021


Paradoxes of the current time: Making a rock album is the most adventurous and innovative in the world of music, because no matter how much they try to sell it as they want, innovative or risky is not making a vocal jazz album since there are hundreds of those and thousands. To value CHRISSIE HYNDE’s work with the Ensemble The Valve Bone Woe as something out of the ordinary I do not understand, since it would be something unexpected if she would release a rock album, something quite forgotten in today’s world even by herself, since her career is full of chiaroscuro with darker than light being objective.

CHRISSIE HYNDE has dedicated himself to showing on this album a lot of his favorite songs ranging from the Beach Boys (Caroline Now) John Coltrane (Naima), Charles Mingus (Meditation On Pair of Wind Cutters), these two mere instrumentals so the presence of Chrissie is anecdotal, Nick Drake (River Man) Ray Davies (No Return), or Sinatra (I’m a Fool To Want You) always from a perspective away from what is their supposed habitual habitat such as jazz .

The end result is exquisite and impeccable in its creation in both its arrangements and its execution, but, nevertheless, the emotion has also been left by the wayside. The monotonous voice of the Hynde swarms through the songs, but her lack of versatility makes all the songs express themselves equally, which causes the album to fall into an irredeemable monotony and boredom. If I have to highlight something precisely, it is when it gets out of the way, such as that dub of Brian Wilson’s Caroline Now that recalls the fascinating lps of Grace Jones or the How Glad I Am more of a vintage RbB cut, in my opinion it should having gone to work instead of one more of the jazz muzak that you find everywhere along the way.

Chrissie is a goddess, teenage girlfriend and mirror for many women, but for a long time, and it is a long time, she is moving further away from my adoration every day.