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New Mould album deeply satisfying

Tight set is savage, tough and lean

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Bob Mould, gay news, Washington Blade
Bob Mould, gay news, Washington Blade

Bob Mould’s new album is a visceral, satisfying and succinct new chapter in an illustrious career. (Photo by Alicia Rose)

Bob Mould cements another level to the ridiculously impressive and influential musical legacy he’s built over a 35-year career with his superb new album, “Patch the Sky.” It’s Mould’s third album in four years, following the stellar “Silver Age” (2012) and “Beauty & Ruin” (2014).

The gay, alternative-rock icon’s career has veered in multiple directions over the decades. He was an integral part of the widely revered trio Hüsker Dü during the ‘80s, recording albums like “New Day Rising” and “Candy Apple Grey” that are among the decade’s most hallowed in alternative rock. After departing the trio, Mould’s acclaimed first solo album, “Workbook” (1989), became one of the cornerstone albums of that era, thanks in part to the hit “See a Little Light.”

Thus started a long and fruitful solo career for Mould that continues strong as ever. Some albums have done better than others (“Copper Blue” with Sugar was particularly successful), and there are some hidden gems (“Black Sheets of Rain” doesn’t get nearly the attention it deserves). “Patch the Sky” is vintage and essential Bob Mould — it builds on everything that has come before it.

The album begins with a cascade of electric guitar descending into the brisk rocker “Voices in My Head.” Mould’s voice sounds as good as ever and the melody grabs hold immediately. It’s like welcoming back an old friend, and he’s unburdening himself the only way he knows how. ”The End of Things” is particularly savage and seems imbued with bitterness. The band plays with reckless abandon, like the whole thing is going to careen off the rails at any moment but never does.

“Hold On” is a tight-as-nails melodic rocker that could fit onto “Copper Blue” with no problem. Mould delivers an impassioned vocal which is well down in the mix to be part of the electrical storm surrounding it. “You Say You” is a rigid three minutes of garage rock played with tight precision. Mould has surrounded himself with ace musicians (Jason Narducy on bass and Jon Wurster on drums) for this set, and that comes through loud and clear in every song.

”Pray for Rain” is a force of nature, a potent hard rock explosion with blistering guitar. One imagines it was so loud when it was recorded that the air practically sparked with electricity. “Hands are Tied,” at a brisk 1:45, could be a raucous ode to the days of playing tiny rundown hell-holes with Grant Hart and Greg Norton in Hüsker Dü. “Black Confetti” is one of the album’s more complex tracks, with an expansive sound and tremendous vocal by Mould that’s submerged in massive swells of guitar.

Mould says on the Merge Records website that the dark intensity of “Patch the Sky” reflects ongoing turmoil in his personal life.

“I’ve had a solid stretch of hard emotional times, and thanks for the condolences in advance. I don’t want to go into the details — more death, relationships ending, life getting shorter — because they’re already in the songs. Just listen and see if you can fit yourself into my stories. The words make you remember. The music makes you forget.”

As a catharsis, the album delivers. It’s tight, potent and packed like a musical sucker-punch. “Patch the Sky” gives us everything we love about Bob Mould. The raw energy and frazzled emotion are there. These feelings are wedged into three-minute power-pop gems that are performed with blazing intensity and musical dexterity.

Mould’s remarkable career continues with yet another great album. How long can the Rock and Roll Hall of Fame continue to ignore Mould and this enormous contributions to rock and roll? “Patch the Sky” likely won’t be a Top 10 album, and it will most likely be die-hard fans that pick it up. This is a shame, because Mould is one of the preeminent rock musicians still going strong in American music, and it’s time his consistently strong and vast body of work gets the recognition it deserves.

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Music & Concerts

Here’s everything queer that just happened at the 67th Grammy Awards

LGBTQ megastars among winners, performers

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Screen grabs from Entertainment Weekly/Youtube

The 67th Grammy Awards featured debut performances by LGBTQ megastars Chappell Roan, Sabrina Carpenter, and Doechii — all of whom also won awards at Sunday’s awards ceremony, making the gay sons and thot daughters of the queer and trans world rejoice. 

Though Roan was the only queer artist to take home one of the “Big Four” awards — Best New Artist, Doechii, Carpenter, Charlie XCX, Billie Eilish, and Lady Gaga were also all nominated for one or more of the “Big Four.”

Carpenter, Roan, and Doechii also shocked audiences with their debut performances, showing us what it really means to be out and loud. 


Doechii

The self-proclaimed swamp princess from Florida took home a well-deserved win for Best Rap Album (“Alligator Bites Never Heal”). 

She stunned audiences with her performance and her speech, dedicating her win to Black women everywhere. Only two other women have won the award — Lauryn Hill and Cardi B since the category was introduced in 1989. 

“I know there are so many Black women out there that are watching me right now and I want to tell you: You can do it. Anything is possible,” said Doechii during her acceptance speech.  

Chappell Roan

Roan won the Best New Artist award, prompting her to whip out her notebook and deliver a speech about her struggles with the healthcare industry after getting dropped by her first record label radicalized her. 

On the carpet, she served looks on the red carpet while delivering Jean Paul Gaultier vintage realness and thanking the trans girlies who made her who she is today. 

“Trans people have always existed and they will forever exist. They will never, no matter what happens, take trans joy away and [they] have to be protected more than anything because I would not be here without trans girls,” said Roan on the red carpet. 

She also served during her debut Grammys performance, turning Crypto.com Arena into the Pink Pony Club while dedicating the performance to Los Angeles — the city that embraced her when she wanted to break into the industry. She used her acceptance speech as her opportunity to shine a light on her journey toward becoming the icon she is today — and to no one’s surprise, it didn’t come easy to her. 

Roan opened up about her struggles with healthcare and being dropped as an artist in L.A., leaving her without health coverage and scrambling for solutions. Seems like the healthcare system has radicalized yet another one. 

St. Vincent 

St. Vincent revealed that she has a wife and daughter during her acceptance speeches, thanking them after winning three Grammys for Best Alternative Music Album (“All Born Screaming”), Best Alternative Music Performance (“Flea”), and Best Rock Song (“Broken Man”). 

During her red carpet interview, reporters asked Clark about the shocking news about her mentioning her wife and daughter, she responded “Most people were [unaware]. It’s young, so we’ve kept it under wraps.” The reporter then continued his line of questioning, meanwhile intrusive thoughts quickly got ahold of Clark, prompting her to interrupt the reporter to clarify that she meant the child is young, not the person in the relationship she’s in. 

Girl, you’re good.

Sabrina Carpenter 

Though Carpenter didn’t win any of the “Big Four” categories, she did win Best Pop Vocal Album for (“Short n’ Sweet”) and Best Pop Solo Performance for (“Espresso”).

According to E!, Carpenter’s acceptance speech was apparently censored, cutting her off after she said: “Thank you, holy sh*t, bye!”

The pop star was nominated for Record of the Year (“Espresso”), Song of the Year (“Please, Please, Please”), Best New Artist, Best Pop Vocal Album (“Short n’ Sweet”), Album of the Year (“Short n’ Sweet”), Best Remixed Recording (“Espresso – Mark Ronson x FNZ Working Late Remix”), Best Engineered Album, Non-Classical (“Short n’ Sweet”) — all within her first year as a record-releasing musician. 

Charli XCX

Charlie XCX truly brought the brat energy to the Grammys with her performance of (“Van Dutch”), also taking home the wins for Best Dance/Pop Recording for (“Van Dutch”) and Best Dance/Electronic Album for (“Brat”). 

Lady Gaga 

Best Pop Duo/Group Performance went to Lady Gaga and Bruno Mars. Gaga used her acceptance speech to advocate for trans people stating that we all need love and to be uplifted.

“Trans people are not invisible. Trans people deserve love. The queer community deserves to be lifted up. Music is love. Thank you,” said Gaga.

No, thank you mother. 

Last, but not least

It is also worth noting that our tried and true ally, Alicia Keys used her moment on the Grammys stage to advocate for the restoration of DEI initiatives. 

“This is not the time to shut down the diversity of voices,” said Keys. “We’ve seen on this stage talented, hard-working people from different backgrounds, with different points of view, and it changes the game. DEI is not a threat, it’s a gift — and the more voices, the more powerful the sound.”

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Music & Concerts

Gay Men’s Chorus starting the year with a cabaret

‘Postcards’ to be performed at CAMP Rehoboth

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The Gay Men's Chorus of Washington performs 'Postcards' in Rehoboth Beach, Del. on Jan. 18. (Photos courtesy of the Gay Men's Chorus of Washington)

The Gay Men’s Chorus of Washington will perform “Postcards,” a cabaret, on Saturday, Jan. 18 at 5:00p.m. and 8:00p.m. at CAMP Rehoboth Elkins-Archibald Atrium. 

In this performance, the choir will share hilarious and heart-warming stories and songs about the travel adventures they’ve had and hope to have. Songs include “Midnight Train to Georgia,” “Streets of Dublin,” “Magic To Do,” “Home,” and “I Left My Heart in San Francisco.” Tickets cost $35 and can be purchased on Camp Rehoboth’s website.

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Music & Concerts

WMC’s ‘Comfort and Joy’ fuses drama, well-being, light

Soloist describes production as ‘reverent and beautiful’

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Opal Clyburn-Miller (Photo courtesy Clyburn-Miller)

‘Comfort and Joy’
Washington Master Chorale
Sunday, Dec. 22, 5 p.m.
Church of the Epiphany
1317 G St., N.W.
washingtonmasterchorale.org

With its warmth and unfettered imagination, it’s no surprise that the Washington Master Chorale’s enduringly popular winter program remains a holiday favorite. 

This December the Washington Master Chorale (WMC), helmed by out artistic director Thomas Colohan presents “Comfort and Joy” a selection of British and American works like “Lute-Book Lullaby,” “I Saw Three Ships,” “Puer Natus” by Samuel Scheidt and “Hosanna to the Son of David” by Orlando Gibbons. 

In addition to these Christmas classics, WMC will perform 2022 Florence Price Commission Winner Mason Bynes’s “Ephiphanytide” and Ēriks Ešenvalds’ “Northern Lights,” the firsthand accounts of arctic explorers Charles Francis Hall and Fridtjof Nansen and their experiences surrounding the fabled aurora borealis.

Described as “reverent and beautiful” by “Northern Lights” tenor soloist Opal Clyburn-Miller, “Comfort and Joy” fuses drama and well-being, and the import of light. 

And as an artist who uses they/them pronouns, Clyburn-Miller says where classical music is concerned, “it seems people are put in their boxes and that’s where they stay.” They add, “there’s been some progress. It’s pretty much a traditional art form.” 

With regard to their career, Clyburn-Miller, the Baltimore based Peabody Conservatory student, says the work usually comes through word of mouth: “You show up, you’re a good colleague and people want to work with you again.”

The solo piece, according to Colohan, is perfect for Clyburn-Miller. The soloist says in response: “Maybe I have the imagination to think of what Northern Lights might look like in Eastern Europe. I’ve never been that far north but I can put myself in that sense of wonder and astonishment.”

But the gig hasn’t been entirely without its tests. The lyrics are in Latvian, a new language for the meticulous singer.

“It’s been a bit tricky getting the Latvian down,” they say. “Usually in my singing experience, it’s been German, Italian and French, and I’m familiar with Spanish and some Hungarian and Russian, but this is entirely new.”

A perfect chorale venue requires easy parking; good acoustics; a concert level Steinway, and an excellent organ; a sanctuary wide enough to accommodate a 50-person chorale; and audience friendly loos, says Colohan. 

The Church of Epiphany meets most if not all of these requirements.  

Raised Catholic in Richmond, Colohan came out at Ohio’s progressive Oberlin Conservatory. Around this time, he remembers visiting Washington for a music educator’s conference and partying at JR.’s, Badlands, and other bars. He says, “I saw that D.C. had a huge population of clean-cut gay boys. That journey which started with me being gay, prompted me to ask questions.” 

As WMC artistic director since 2009, Colohan, who lives with his partner in Silver Spring, became increasingly interested in secular poetry and literature, especially the ways in which it intersects with chorale music. For him, that became the heart of the art form. 

“My secular approach is wider than some. I’m like the curator of the museum going down to the basement to bring some stuff up. You cannot hear the music if we don’t sing it.”

He’s remained conservative as an aesthetic but not an ethos. “I can wear a blazer and not be crazy right wing. Spiritually speaking, I’m Zen Buddhist now.”

A lot of the concert is about darkness and light. Colohan says, “In ancient times when the world became darker, the days leading to the solstice were scary and then on the 22nd they saw that days were getting longer and it was lighter.”

“Comfort and Joy” closes with a candle lit chorale memorably singing “Silent Night.”  

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