Allison Russell follows up her marvelous 2021 debut with
The Returner, a boisterous, life-affirming record that examines the past while embracing the unknown. The traumas unpacked on her previous outing remain an essential part of her personal narrative, but the Montreal-via-Nashville roots artist finds herself bidding adieu to her darkest times as she shifts into her next creative phase. It's a liberation of sorts, a casting out of demons and an unapologetic embrace of the tenacity and strength earned after overcoming periods of sexual abuse and homelessness in her younger years. Backed by an all-female band that includes legendary
Prince collaborators
Wendy Melvoin and
Lisa Coleman,
The Returner is musically and sonically eclectic, an ethos
Russell has adopted throughout her career. At its core, it plays like a fiery R&B rave-up fueled by rock, pop, gospel, soul, folk, and psychedelia, sometimes all in the same track. Like many of its songs, opener "Springtime" drifts nimbly back and forth between English and French as
Russell shrugs off past shadows over a tight groove and vibrant call-and-response vocals. "Demons," a surprisingly upbeat exorcism, follows a similar trajectory, while the bluesy folk standout "Eve Was Black" boldly traces the roots of racism. The production is experimental without getting in the way of the songs or performances which sound remarkably contemporary and present. "Rag Child" is a perfect example, a timeless track of exultant pop that transcends eras and genres.
Russell's story would be compelling enough on its own, but she also happens to be an engaging and unpredictable artist able to translate her vision effectively.
The Returner is a very confident second record. ~ Timothy Monger
