PREMIERE | shirlette ammons, 'Spectacles'
Beyond the visions, perceptions and projections of the spectacle with shirlette ammons; photographed by John Vettese.
The conceits and short sighted applications of signifiers and descriptors can never contain the unlimited power of humanity unbound. Just as the constructs of genre and strict definitions have fallen like marble statues of figures of feigned valor or antiquated graven images — we share a wondrous universe that cannot be reduced or trivialized by the limitations of human language alone. People and their corresponding oeuvres can never be neatly contained into the parameters of a cardboard box or pigeonholed by the inherent urge to find ways to encapsulate others and the infinite expanses of experience into the trappings of semantics. The societies that we inhabit and surround us are more than the clinical and coarse discourse propagated by the hot air of pundits, wannabe demagogues, opportunistic politicians and other associative perpetrators of polemics. The spectacles that we witness before our very senses are something more than the aesthetics of style, the sordid simplicity of stereotypes, or mere emulated simulations, but rather lend toward a world of evolving histories and lineages that lead toward larger pictures of collectives that cannot be reflected or reduced by statistics, chyrons, headlines and buzz words.
This is the spirit of shirlette ammons’ radical new album Spectacles that rises high above the noise and the projections. Based out of Durham by way of Beautancus, NC — the artist meditates on the notions of her own identities of Blackness, queerness, southerness, twinness, not to mention poet, musician, art director, educator and an accomplished Emmy and Peabody awarded television producer into a married embrace of these magnificent multitudes. The follow up to 2016’s Language Barrier is an epic exercise in eschewing the perceptive connotations and nearsighted applications the world at large places on these individual spectacle points of identity and cultural presentations. Spectacles is an astounding portrait of ammons celebrating these myriad kaleidoscopic visions that comprise the beauty of the self and one another. With a production assist from Phil Cook, shirlette’s new album features a dazzling array of collaborators that includes (but is not limited to) Amelia Meath of Sylvan Esso, Mavis SWAN Poole, Jessamyn Stanley, G Yamazawa, Kane Smego, the Central Park School For Children, Brevan Hampden, Daniel Chavis, Darion Alexander, DJ Harrison, Chris Boerner, Brad Cook, Nyk Baglio, Matt McCaughan, Mykki Blanco, Fred Moten, Shorlette Ammons, Anansj Stephens, DJ Doowop, Dr. Alexis Pauline Gumbs, Vivica C. Coxx, Tunde Wey and many more…
Spectacles starts with an enlightened introduction from a chorus of all stars that refutes the coded and reductive language of the world. “On Spectacles, Pt. 1” features Mykki Blanco, Fred Moten, shirlette’s twin sister Shorlette Ammons, Anansi Stephens and Tunde Wey tackling the way taglines and dubious definitions seek to make less than instead of engaging in the dualities of understanding and overstanding. “Short” kicks the movement into high gear as shirlette spits stories of familial struggles with the ethos of we keep coming up alongside Mavis SWAN Poole’s chorus hooks that elevate the track’s urgency that blends the past with the immediacy of the present. "Spades" sees shirlette kicking over the card tables that lifts up the spirits of any and all who feel insignificant, leading into the sharp title track that basks in the volition of individuality in the face of fakers, appropriators and imitators brilliantly told in the chorus bars, spectacles you think we wearing their shoes the way they are clocking every move they're all so blinded by the groove, can't stop watching, can't look away.
“Hello. It's Alright” shines a light on the importance of being able to see one another without the interference and external noises that ranges from the irrelevant to the insidious with endearing harmonies of hope supplied by Amelia Meath and the Central Park School For Children. "On Spectacle, Pt. 2" provides an interlude of uplifting affirmations supplied by DJ Doowap, Vivica C. Coxx, Dr. Alexis Pauline Gumbs, right before "Delight" kicks out some rhythmic dancefloor principles of pleasure and pure PMA featuring further contributions from Meath and Nick Sanborn. Reminisces and personal reckonings gracefully rock on the nostalgia nodding grooves of "All the Things" that features further mindfulness from G Yamazawa and Kane Smego. The circus of life is lampooned with the utmost lavish lounge elegance of "Clown Faces" that features The Veldt's Daniel Chavis and Justin Robinson, while the timeline tempests of malicious media and other outlets of negativity are explored on the mind and soul illuminated testimonials of transcendent truths that shine forth on "Neighborhood Headlines".
The closer "Temperature" featuring vocals supplied by yoga teacher/advocate Jessamyn Stanley brings the album back to a point of home that exalts the queer femme spirit to a sacred place outside the realm of adjectives, the materialism of words and to an abode of security, sensuality and confidence that glows with a luster greater than the globe spanning sphere reaches of the sun. The bonus Nicolay remix of "Hello" further showcases the unlimited potency and power from one of the most important releases of 2024. Spectacles is not just essential listening, but a record that is crucial for a universal revolution toward a higher level of consciousness that emphasizes the appreciation of everyone and everything according to all the attributes that make us all who we are (without pretenses, without judgement, without the tackiness and tasteless simplification of labels).
Live and in effect with shirlette ammons; photographed by Nika Kramer.
shirlette ammons shared some exclusive thoughts and notes on the power and inspirations that gave rise to Spectacles:
The more I sit with it, the more Spectacles feels like a memoir (or at least the first chapter). I wanted to recognize the contradictions in being a spectacle. As an identical twin, I've been navigating being a spectacle seemingly my entire life. Then there's the proverbial white gaze that Toni Morrison wrote about negating and eliminating as a Black writer/thinker/creator. Then there's my decision to be a performer who by the sheer nature of the act, invites attention.
Over the pandemic, I had time to really sit and think about how all of these perspectives are married via the identities I claim — Blackness, queerness, southerness, twinness — and was fortunate to collaborate with a bunch of creative and talented artists to tell personal stories, hopefully in a way that resonates with listeners. I'm learning over and over again that the myriad identities we wear as individuals merged with those of the people we love and call upon, make this life spectacular.
Spectacles from shirlette ammons will be available April 26 everywhere.
