It would be inexcusable to write about LGBTQ+ recordings and exclude the limited-edition reissue of “Howl and Other Poems” (Craft Recording) by legendary gay poet Allen Ginsberg, pressed on “eco-friendly green blend vinyl” and re-released to commemorate Ginsberg’s centennial (he was born June 3, 1926, and passed in 1987).
It’s an unforgettable experience to hear the poet himself boldly read his masterwork, recorded less than two years after Judge Clayton W. Horn ruled that the poem was “not obscene or pornographic.” As Ginsberg wrote in the original 1959 liner notes (reprinted on the back cover), “I used Chicago Big Table Readings (Jan 59) of Howl, Sunflower, and Kaddish on this record because they are the best I can find.” Ginsberg was a poet who was aware of the value of recording his voice reciting his work (he could be heard on albums released by Giorno Poetry Systems, as well as his own albums including 1990’s major-label release “The Lion For Real”). The stunning “‘Howl’ and Other Poems” reissue also includes “A Supermarket in California,” “America,” and “Europe, Europe.”
From poetry to propulsive dance beats, we have non-binary musician Miss Grit and their new album “Under My Umbrella” (Mute). Miss Grit (aka Margaret Sohn), who strikes an ear-pleasing balance between dancing and dreaminess, kicks things off with the blazing “Tourist Mind,” followed in rapid succession by the ethereally energetic “Mind Disaster.” “Won’t Count On You” lures us in before making the damning titular statement.
“It Feels Like” bounces in before Miss Grift modifies the beats on “Waste Me” and “You Will Change.” The worst thing that can be said is that it’s over too soon.
Years before of Montreal’s Kevin Barnes came out as genderqueer, and began using multiple pronoun variations, the band released the album “The Gay Parade.” Barnes is an incredibly prolific artist, rarely letting a year or two lapse between of Montreal releases.
The latest, “aethermead” (Polyvinyl), is the result of relocation and a break-up, so the mood is one of discovery and healing. Nevertheless, there’s no question that this is an of Montreal album, and there’s plenty to recommend, including the psychedelic strut of “Take The Form, as well as “Listen to Music and Cry,” “Already Dreaming,” “Now We Cringe at the Thought,” “To Nothing’s Reward,” and the aggressive rock of “When.”
What began as a solo project by trans frontwoman Lomes Oleander, continues to take flight with the moniker Pigeon Pit.
“Leash Aggression” (Ernest Jenning), Pigeon Pit’s fourth album since 2022, continues in the band’s trademark folk-punk style. Oleander sounds both breathless and exhilarated singing songs that are bursting at the seams with thought-provoking lyrics, as in the case of “Cherry,” “People on the Bus,” “Landlord Special,” “Thread The Needle,” “Return of the White-Knuckle Angel,” and “Rearview Mirror Blues.” Fans of Laura Jane Grace and Ezra Furman are sure to connect with Pigeon Pit’s music.
It’s been said that imitation is the sincerest form of flattery. On her new album “Distant Lands” (Lex), queer singer/songwriter Zzzahara isn’t so much imitating as she is finding inspiration in various sources.
You can hear the fluence of The Drums on “Speed Racer” and “My Little Dove,” Cocteau Twins on “She Doesn’t Want Me To Exist” and “Chinese Tobacco,” and Liz Phair on “Wandering Eyes.” Zzzahara makes these stimuli her own and could very well serve as a source of inspiration for others on “Garden,” “Andy’s Got A Gun,” “Can Be Yours” (on which she’s joined by Winter), and “Whispering Tree.”
This story is brought to you by Rosedale Health and Wellness and Dudley’s Place.
