Record nerds will note that Dean Blunt lifted the prayer hands from Otis G. Johnson’s God Is Love for The Redeemer cover (and Dean Blunt nerds will note that this was a full two years before Champagne Papi did it), and Blunt's breakthrough solo effort isn’t too far off from Johnson’s low-budget gospel epic in terms of lyrics or sound design either. Compared to the woozy noise-dub atmospherics of his (at the time) main project Hype Williams, The Redeemer is remarkably forthcoming, earnest, and hi-fi; drawing a line in the sand between Hype Williams and his current run of anything-goes solo projects (a fan-favorite album of jazz-funk and neo-soul under the name Blue Iverson was just issued on vinyl). It’s a painfully vulnerable breakup record comprised mainly of Blunt’s upfront confessionals delivered in short, husky bursts over a bed of Roland Fantom strings, broken glass, canned rock drums and overdriven Puff Daddy samples. Between near-indecipherable voicemail interludes from a disgruntled ex, Blunt weaves an odd patchwork of rustic UK folk (“Seven Seals Of Affirmation,” “Imperial Gold”), freeform post-punk (“All Dogs Go To Heaven”), choral new age (“Flaxen,” “Y3”) and sloppy drunk-dial confessionals (“Make It Official,” “Need 2 Let U Go") over samples so brazenly obvious (Kate Bush, Pink Floyd, etc.) you can’t help but smile. The apex is the epic “Demon,” a visceral trumpet and vibraphone-laced duet with UK folk songstress Joanne Robertson; other highlights include the melancholy slack-blues ballad “Papi,” Bon Iver-on-promethazine “Walls Of Jericho” and the title track featuring Inga Copeland and Arca. There’s a puzzling, dreamlike force propelling the record - you never know who or what will show up next, or how far in or out of the rabbit hole you are at any given moment. Released on the now-defunct Hippos In Tanks label; get it now before it's out of print forever. Recommended.

• black vinyl pressing
• embossed jacket
• music label: Hippos In Tanks 2013

reviewed by william, shotgun sprayer 02/2018