![]() Thus began a formative 13-year stint bartending at the beloved Lower East Side dive The Library, which thrust Morris directly into the heart of Manhattan’s fertile post-Strokes creative scene. Morris was a musically precocious child and, after playing in Florida bar bands, moved to New York to chase the dream. ![]() Morris is an accomplished visual artist and stop-motion animator, so it’s appropriate that I Am What I’m Waiting For takes a collagist approach, mischievously recombining all sorts of rock and roll ingredients - the sass and swagger of Ronnie Spector, the more acid-fried corners of the Nuggets compilations, post-modern interpolations of mid-century exotica music, the cracking snares and sugary urbanity of ESG - while offering moments of vulnerable insight from a life spent in pursuit of creativity. “How do you put yourself into a record? Torbitt and I wanted to make it feel like you cracked open the ooze in my head,” Morris says, referring to her co-writer and producer Torbitt Schwartz AKA Little Shalimar (Run The Jewels). It’s vibrant and varied and packed with personality. It combines rough-hewn powerhouse vocals with arrangements that betray both an extensive record collection and a whimsical instinct for joyous noises - think Dusty Springfield fronting Spoon circa Kill The Moonlight or a 60s girl group creative directed by Nick Lowe and PeeWee Herman.
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