{"id":168472,"date":"2025-01-16T16:21:49","date_gmt":"2025-01-16T16:21:49","guid":{"rendered":"https:\/\/globetimeline.com\/ar\/culture\/rewrite-this-title-in-arabic-the-weather-station-humanhood-album-review-subtle-music-charts-the-stages-of-a-breakdown\/"},"modified":"2025-01-16T16:21:49","modified_gmt":"2025-01-16T16:21:49","slug":"rewrite-this-title-in-arabic-the-weather-station-humanhood-album-review-subtle-music-charts-the-stages-of-a-breakdown","status":"publish","type":"post","link":"https:\/\/globetimeline.com\/ar\/culture\/rewrite-this-title-in-arabic-the-weather-station-humanhood-album-review-subtle-music-charts-the-stages-of-a-breakdown\/","title":{"rendered":"rewrite this title in Arabic The Weather Station: Humanhood album review \u2014 subtle music charts the stages of a breakdown"},"content":{"rendered":"<p>Summarize this content to 2000 words in 6 paragraphs in Arabic Unlock the Editor\u2019s Digest for freeRoula Khalaf, Editor of the FT, selects her favourite stories in this weekly newsletter.A breakthrough album can turn into a stumbling block. So it has proved with The Weather Station\u2019s Ignorance, one of the standout releases of 2021. It marked the peak of Tamara Lindeman\u2019s work with her meteorologically named band. Its songs were sinuously arranged and expressively performed. They tackled the pre-eminent issue of climate change, but did so without becoming weighed down by self-importance or preachiness.\u00a0The album lifted The Weather Station beyond the Toronto indie scene in which they formed in 2006. But Lindeman fumbled the challenge of following it up with How Is It That I Should Look at the Stars. Released in 2022, it was billed as a companion album to Ignorance, featuring songs written at the same time. Sparsely arranged and wispy, they were like afterthoughts.\u00a0\u00a0Humanhood is better, although it too struggles to move on from its predecessor. It\u2019s about the stages of a personal breakdown. \u201cI\u2019ve gotten used to feeling like I\u2019m crazy,\u201d Lindeman sings in opening song \u201cNeon Signs\u201d. The causes are opaque, \u201cconnected to something I can\u2019t explain\u201d. In the title track, the singer describes herself as \u201ccarrying a body that\u2019s tired from carrying a mind\u201d, as though burdened by the human condition. Closing track \u201cSewing\u201d finds her in a tentative state of recovery, making a homemade quilt. The metaphor is heavy-handed, but the music is subtle.Tracks flow into each other without pause. The effect is meant to stitch them together like the quilt in \u201cSewing\u201d. However, it also serves to accentuate the saminess of songs such as \u201cBody Moves\u201d and \u201cRibbon\u201d. Ignorance\u2019s shadow hangs heaviest over \u201cIrreversible Damage\u201d, a meandering affair with a semi-audible voiceover about environmental ruin.\u00a0The best moments have a lighter, looser feel. Structure is provided by jazzy drumbeats from Kieran Adams. Improvisational musician Karen Ng adds a mazy scribble of wind instrument parts. Lindeman plays piano contemplatively and sings in a way that manages, intriguingly, to make her sound collected yet also on the verge of evaporating. There are steps forward here, but not enough for the next breakthrough.\u2605\u2605\u2605\u2606\u2606Released by Fat Possum<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Summarize this content to 2000 words in 6 paragraphs in Arabic Unlock the Editor\u2019s Digest for freeRoula Khalaf, Editor of the FT, selects her favourite stories in this weekly newsletter.A breakthrough album can turn into a stumbling block. So it has proved with The Weather Station\u2019s Ignorance, one of the standout releases of 2021. It<\/p>\n","protected":false},"author":1,"featured_media":168473,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[65],"tags":[],"class_list":{"0":"post-168472","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-culture"},"_links":{"self":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts\/168472","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/comments?post=168472"}],"version-history":[{"count":1,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts\/168472\/revisions"}],"predecessor-version":[{"id":168474,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts\/168472\/revisions\/168474"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/media\/168473"}],"wp:attachment":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/media?parent=168472"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/categories?post=168472"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/tags?post=168472"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}