{"id":13105,"date":"2025-10-10T10:45:00","date_gmt":"2025-10-10T14:45:00","guid":{"rendered":"https:\/\/wecb.live\/?p=13105"},"modified":"2025-10-10T10:45:00","modified_gmt":"2025-10-10T14:45:00","slug":"joanne-robertsons-blurrr-is-the-synesthetic-sublime","status":"publish","type":"post","link":"https:\/\/orgs.emerson.edu\/wecb\/milkcrate\/joanne-robertsons-blurrr-is-the-synesthetic-sublime\/","title":{"rendered":"Joanne Robertson\u2019s “Blurrr” is the Synesthetic Sublime"},"content":{"rendered":"
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\"\"<\/figure>\n<\/div>\n\n\n

Design by Christian Jones<\/p>\n\n\n\n

By Christian Jones<\/h2>\n\n\n\n

A mysterious intimacy has always been Joanne Robertson\u2019s strength\u2014the ability to express a personal history of feeling while shrouding its particular details. Her barely-inteligible warble communicates nuances of emotion that language simply can\u2019t hold.<\/p>\n\n\n\n

This is as true of her abstract paintings<\/a> as her music. They evoke<\/em> rather than depict. In both mediums, intuition is her North Star. When Robertson paints, she starts with a series of steps<\/a>: sketching, setting up her studio, and creating a conducive atmosphere with the accompaniment of music. When her ritual is in motion, she then mixes colors on a glass plate and thinks about how color works, how it behaves and what turns her on within it. She listens to color; she paints sounds. Blurrr, <\/em>is Robertson\u2019s radiant, synesthetic magnum opus. It has a textural richness that conveys the kaleidoscopic inflections of human emotion. <\/p>\n\n\n\n

Her brushes: shrill, whispery vocals, reverb, string noise. Her sonic palette: the gentle psithurism<\/a> of an ancient sun-dappled forest, every shade in the living embers of a dying sunset, distant nebulae glittering unperturbed for millenia, the kind of loneliness that has seeped into your very bones. Production across the album is a kind of spatial chiaroscuro<\/a>, at times rendering Robertson\u2019s voice clear and defined as on \u201cLast Hay\u201d or \u201cDoubt,\u201d then diffuse as (a) \u201cGhost.\u201d<\/p>\n\n\n\n

Robertson\u2019s earlier releases have the quality of diary entries; they were attempts to sketch the emotions of that specific day or moment. This is true of 2020\u2019s Paintings of Stupid Girls<\/em> and 2023\u2019s windswept Blue Car<\/em>, which compiles songs written over a 10 year period. Her style places her among wistful contemporaries: Grouper\u2019s ethereal soundscapes, Jessica Pratt\u2019s mystical twang, early Diane Cluck\u2019s emotional rawness.<\/p>\n\n\n\n

Though Robertson\u2019s singer-songwriter delivery has folk overtones, to me, her music has always had an off-kilter naturalism. The tinny, weathered production feels closer to auto-tune than most pristine folk recordings. It\u2019s almost as if it was recorded in an empty concert hall but on a DS, her voice at once spacious and compact. This vaguely folk-tronic quality is more present in Robertson\u2019s collaborations with UK underground producer and musician Dean Blunt, first as an appearance on the 2013 album The Redeemer<\/em> and on some tracks from the compilation album Roaches 2012-2019<\/em>. The two went on to co-create three more albums: the 2017 album Wahalla<\/em>, then 2020’s ZUSHI<\/em>, and more recently the 2024 album, Backstage Raver<\/em>. The albums find a unique blend between the two artists\u2014Robertson\u2019s delivery is always emotion over annunciation, pairing well with Blunt\u2019s moody experimental drone-pop. Their collaborations are much closer to some of the central acts of this too-broadly defined \u201ccloud rock<\/a>\u201d: drawing comparisons to Bar Italia\u2019s shoegazey post-punk and The Crying Nudes\u2019 alluring haze-pop. Robertson\u2019s solo style probably best comes through on \u201cPusher<\/a>\u201d and \u201cOFELIA<\/a>,\u201d where Blunt\u2019s strumming is but a lighter touch against her breathy croon.<\/p>\n\n\n\n

The only song reminiscent of these collaborations is the spare \u201cExit Vendor\u201d \u2014 tinged with that familiar Blunt-esque disaffection \u2014 \u201cSweetest vision\/ Where are you gonna leave me?\u201d She otherwise ventures new realms. On \u201cGhost,\u201d her voice echoes as if in a cathedral, distant and diffuse, reverberating as she articulates new phrases that layer the sound ad infinitum. Riffs roll out of her smooth as a river on \u201cWhy Me,\u201d trailing over the occasionally clipped guitar strums to create textural depth. Robertson sings \u201cOutside in the rain, through the window in your mind\u201d with a twang that melds the tender inflections of Adrianne Lenker and the hazy swansongs of Mazzy Star. \u201cDoubt\u201d is full of tension and resolve, showing off Robertson\u2019s ability to faithfully portray the subtlest changes in mood.<\/p>\n\n\n\n

Her songs with the cellist and composer Oliver Coates move with the heft of changing seasons. Melodies bloom and wither; landscapes and scenes flicker. The transition to \u201cAlways Were,\u201d is speckled in light \u2014 her guitar twinkles like bells over Oliver Coates\u2019 gentle undercurrent. That placid horizon swells into the grandeur of a sunrise seen from a satellite. The sound is monumental and engulfing \u2014 nearly as orchestral in its sense of gravity as \u201cMovement 6<\/a>\u201d by Floating Points and Pharaoh Sanders.<\/p>\n\n\n\n

Another stand out, \u201cPeaceful,\u201d is an interlude that reflects its namesake like the serenity of Nirvana itself \u2014 guitar patterns ripple over each other in golden bliss. \u201cGown\u201d returns to an orchestral arrangement that is full of a sense of urgency, reminiscent of Nick Drake\u2019s \u201cRiver Man<\/a>.\u201d Delicate trills show life on the brink of decay: leaves flickering at the edge of their stems, rattling in Coates\u2019 gusts of wind that erupt suddenly over the propulsive landscape. But like the Water Moon Guanyin<\/a>, who stares at the reflection of the moon in a pool of water as a reminder that all phenomena are illusory, Robertson transforms this act of witness into something cathartic, chanting \u201cLike a peace offering\/ The old stars gleam bright (beam bright, beam).\u201d\u00a0That cosmic empathy is coincidentally what this album feels like. To borrow from Ocean Vuong<\/a>: \u201cremember, loneliness is still time spent with the world.\u201d<\/p>\n\n\n\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

Design by Christian Jones By Christian Jones A mysterious intimacy has always been Joanne Robertson\u2019s strength\u2014the ability to express a personal history of feeling while shrouding its particular details. Her barely-inteligible warble communicates nuances of emotion that language simply can\u2019t hold. This is as true of her abstract paintings as her music. They evoke rather…<\/p>\n","protected":false},"author":3669,"featured_media":13107,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_kad_blocks_custom_css":"","_kad_blocks_head_custom_js":"","_kad_blocks_body_custom_js":"","_kad_blocks_footer_custom_js":"","_kad_post_transparent":"","_kad_post_title":"","_kad_post_layout":"narrow","_kad_post_sidebar_id":"","_kad_post_content_style":"","_kad_post_vertical_padding":"","_kad_post_feature":"","_kad_post_feature_position":"","_kad_post_header":false,"_kad_post_footer":false,"_kad_post_classname":"","footnotes":""},"categories":[1],"tags":[21],"class_list":["post-13105","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-uncategorized","tag-album-review"],"yoast_head":"\nJoanne Robertson\u2019s "Blurrr" is the Synesthetic Sublime - wecb<\/title>\n<meta name=\"robots\" content=\"noindex, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Joanne Robertson\u2019s "Blurrr" is the Synesthetic Sublime - wecb\" \/>\n<meta property=\"og:description\" content=\"Design by Christian Jones By Christian Jones A mysterious intimacy has always been Joanne Robertson\u2019s strength\u2014the ability to express a personal history of feeling while shrouding its particular details. 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