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and finally a return to Brahms’s domestic vocal music
the mantle of countless awards and accolades to reflect that
from the earliest recordings through the present-day
The National
Monsters BNPL Excluded and finally a return toSophia Kennedys music sometimes sounds like a soundtrack to a world disintegrating, hanging on by a thread of memories. It combines the glamour and the morbid charm of tin pan alley show tunes from the 1960s or 70s, and yet it fully embraces the deconstructed modernism of club music. Her sophomore album Monsters is full of plot twists; moments of prettiness dashed with paranoia. The title itself, is a self ironic, comic like commentary of being an
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