Having just performed in Sydney for Vivid Live, Anohni has now embarked on a ten-day trek across the West Australian desert in protest of the uranium mines. She will be taking on the 177 kilometre journey along wish more than one hundred Martu people.
The protest comes against Cameco and Mitsubishi, who are planning to build the mining site inside Karlamilyi national park, an important landmark for Pilbara’s Martu people. In 2013, she visited Parnngurr in Western Australia to stand with the Martu people against the world’s supposedly second largest uranium mine which was to be built within their community’s immediate periphery.
In June 2015, she spoke with The Guardian about spending ten days with the Martu people. At one point, she mentioned a poignant conversation between her and one of the locals: “One night I was discussing spirituality with one of the Martu artists. I asked her where she thought people went when they died and she said gently, ‘back to country’. It was so meaningful to me. Raised Catholic, I was taught that when I died nature would expunge my spirit and I would be returned to some paradise in the sky or in another dimension, never to return to this place. But what my Martu teacher suggested to me was that we remain a part of nature in some form, forever. Is that perhaps why Indigenous people traditionally stepped so lightly and carefully on the land, with such consideration and respect, knowing that it was their home now and forever?”
Since spending time with the Martu people in 2013, Anohni has been a frequent advocate and fundraiser on their behalf, including donations from concert proceeds and raising awareness through interviews.
Image: Anohni with Aboriginal artists at the MCA. Saeed Khan / Getty Images
Originally published in Indie News
Recent years have seen many critics beg the question, what happened to the protest song? But on the other hand, politically charged music has also been seen as having a resurgence as the industry strives towards a conscience. No matter which viewpoint you subscribe to, the debut album, HOPELESSNESS, from Anohni is indisputably one of the sharpest, starkest and most elegant protest records of recent years.
The first full length from Anohni, this is of course not anywhere near her first ever release. As the latest incarnation of Antony Hegarty, the singer and composer best known for her award winning outfit, Antony & The Johnsons. She is no stranger to social commentary; a transsexual woman, ecofeminist and ecowarrior, she advocated for queer culture and identity early in her career. The heartrendingly beautiful release Hope There’s Someone addressed the experiences of what she called the “lost generation”, who had an early, tragic familiarity with HIV-related deaths.
Environmental and world concerns are also themes that have run through Anohni’s writing since her career as Antony. Drawing parallels between queer identity, politics and the green movement in her 2009 album, The Crying Light, was an unprecedented viewpoint, and something that has remained a constant in her work.
As her first release under the moniker Anohni, HOPELESSNESS holds lungfuls of undisguised mourning for our world, articulate accusations and a beautiful empathy. Addressing the destruction of the natural world, resource greedy capitalism and the scars left by human violence, the record has a clear, blunt honesty that spurns metaphor or elliptical references. Working with co-producers Hudson Mohawke and Oneohtrix Point Never, the album sets Anohni’s commentary against a backdrop where EDM meets an orchestral film score, taking Antony’s chamber pop and working it into something darker and heavier – something more resounding for this release.
Crying out against the dangers of climate change, and the callous attitudes of humanity towards the dangers to our ecosystems, the apocalyptic 4 DEGREES ushers in Anohni’s stance as an ecofeminist. A vast production that stands between electro pop and a cinematic orchestra, looming bass lines and urgent strings lend both menace and an idea of salvation. Deep drums introduce the song, and bring to mind Anohni’s longstanding inspiration, Kate Bush. Perhaps literally inspired the opening to Hounds Of Love, interestingly 4 DEGREES also recalls the worrying fantasy of Bush’s Experiment IV.
[youtube https://www.youtube.com/watch?v=Fi0q0O4V5Qs]
Lyrically, 4 DEGREES has the uncompromising certainty of a narrative villain; “I wanna see this world, I wanna see it boil” resounds as the early refrain. There is no shying away from exactitude as she cries “And all those rhinos and all those big mammals / I wanna see them lying, crying in the fields.” Anohni’s ethereal vocals have never lacked power or soul, charged with emotion rather than volume.
Questioning the disconnection between man and earth throughout the album, Why Did You Separate Me From The Earth? narrates this rhetorical question. Laden with pulsing synths and tropical melodies, there is a brighter feel to the instrumentation and less of the brooding heaviness of 4 DEGREES. The Future Feminism manifesto as put forward by Anohni propounds the masculine identity as disassociating itself from the natural world, while the feminine holds a stronger connection. Bringing together the sense of injury as felt by a female consciousness, as a patriarchal society removes humanity from the earth, with a kind of anarchic disavowal of that society, she disowns the future of mankind as she sings “I don’t want your future / I’m never, I’m never coming home.”
Working with the familiar concept of humanity as a virus on the earth in title track Hopelessness, Anohni assumes the sensibility of a mother. Another common theme throughout the album, making the female connection once more, but also expressing a very particular grief – that of the maternal figure who no longer recognises her progeny, as they destroy her and what she holds dear. Hopelessness holds a lighter form on production; an electronic ambience that moves into something deeper as the track progresses. It builds to a finale which verges on dub, recognisable HudMo territory.
HOPELESSNESS speaks to degrees of human suffering, as well as the environmental impact that our species has. Tracks like Violent Men and Crisis mourn the state of humanity, the former once more from a mother’s viewpoint. The production here moves towards less familiar territory, disparate influences move together perfectly, but slightly uncomfortably. A kind of gamelan or templar percussion holds a meditative feel, broken into by an Indian inspired sample, the whole interrupted by a rumbling interlude of static-ridden bass.
A prayer-like apology, Crisis is a delicate, electronic dream which poses stark questions. A near-ballad, Anohni’s soft croon becomes a soulful kind of ecstasy as she cries out a heartfelt, but ultimately futile apology. Much of HOPELESSNESS is concerned with the post 9/11 America, particularly the resulting warfare. Crisis asks the questions that soldiers are taught not to entertain; “Crisis, If I killed your father / With a drone bomb / How would you feel?”
[vimeo 152637866 w=640 h=360]
Drone Bomb Me – by ANOHNI from nabil elderkin on Vimeo.
The concept of this kind of detached violence appears more than once throughout the album. Opening with Drone Bomb Me, Anohni unleashes what she describes as “a love song from the perspective of a girl in Afghanistan, say a 9-year-old girl whose family’s been killed by a drone bomb,…She is kind of looking up at the sky and she’s gotten herself to a place where she just wants to be killed by a drone bomb too.” A tragic love story as told through Anohni’s lullaby vocals and ambient electronica.
Perhaps one of the darkest, and most brutal, moments on HOPELESSNESS is the menacing, droning Obama. With absolutely no kind of encoding on her lyrics, or the title, the track is a dirge-like litany of disappointment. Contrasting her familiar crooning tone, Anohni delivers a looming monotone as she describes how Obama failed to deliver on the dream he seemed to promise. Calling out drone warfare, the NSA controversy and his actions regarding whistleblowers, the disappointment is palpable; accusing the president of becoming what he once stood against.
Cut with irritating radio static, it isn’t clear if the ominous Obama is a death march or the inexorable voice of justice. Deep instrumentation devolves into reverberating bass and bounce, as laser effects ripple across the top of the mix and a hymnal-like chorus herald some kind of retribution. Ending on a sombre, melodic piano, synonymous with tragedy and aftermath in the language of film score.
You have never heard the word “execution” delivered with so much aspiration as on Anohni’s track of the same name, twisting the much lauded, yet critically collapsed, idea of “The American Dream,” to mean death and destruction. The synth heavy production on Execution almost touches on a style of corporate, motivational music. As such, the irony is tangible.
A comment on the constant surveillance inherent in today’s society, Watch Me becomes and almost lustful love affair with a watchful state. Subtle heartbeat bass and beats sit underneath vast, resonating tones and stunning synths. Turning ‘Big Brother’ into ‘Daddy’, there’s a cynical sensuality to the refrain “I know you love me, because you’re always watching me.” Dropping into a slow beat euphoria, this is one of the most glorious moments of production on the album. Especially coupled with the wonderful irony of watching the watchers.
A slight stranger on the album, I Don’t Love You Anymore has less of an overt agenda. Though I would hazard a guess at another comment on western society, specifically the reception afforded trans individuals. A personal theme for Anohni, instrumentally I Don’t Love You Anymore is also a slight return to her former style of chamber pop. A pertinent subject for the singer, after she penned a forthright letter in reaction to her exclusion from performing at the Academy Awards.
Image via MarieClaire
Anohni alludes to the idea of the American Dream once more in the closing track, Marrow. Bringing together her resonant themes of capitalism, the environment and ecofeminism, she illustrates the world as an exploited woman. Whose body is drained and mined for resources, while what is taken is replaced with toxic reparations. Accompanied by industrial beats and a melodic line that worries at the song, lilting vocals come up against these with the refrain “We are all Americans now.” Marrow is a decidedly sober ending, and a sad prophecy, to the thought provoking sobriety and beauty of HOPELESSNESS.
Image: shoutoutmag
The world is full of issues. It’s far from a perfect place. This isn’t a new idea. Most people by the age of 20 understand this, and while they shouldn’t give up on trying to make the world a better place, focus is needed. Being angry at everything will help nothing. You have to take justice one step at a time, change societal views and norms. Change doesn’t happen overnight, and anyone who thinks they can make it happen that fast is misguided.
This brings me to ANOHNI, formerly known as Antony Hergarty, of Antony and The Johnsons. She’s also transgender, identifying as such from her birth. In a recent interview with The Guardian, she discussed her career, her upcoming album, and the way that she uses her pop music as a political medium. It’s an interesting read if you’re into her music, but several things struck me. The article goes onto say “For Anohni, squabbles about identity are a distraction from the real issues,” which is was really stuck out to me.
In the article, Anohni expresses anger at the disguising of what is described as the “real issues.” But it’s what she classifies as real issues that both frustrates and worries me.
I should just declare before we get any further in that I’m pansexual. That is, I don’t care what your gender is, attraction is attraction. As such, it could be said that I fall within the label of the LGBTI* community. I also have lesbian mothers, and have been very pro-rights for the gay community. I declare this because I don’t want anyone to think that my thoughts on ANOHNI and her comments come from a sense of anger at her being transgender, or vilified by her comments. That’s not the case.
But when she comes out and states that the gay community is silencing other issues by pushing for their rights, I’m going to get pissed.
“We’ve been deceived into thinking that’s the endgame. You look at those rainbow flag-toting, goggle-eyed gays that think they’ve hit the jackpot now they can have heterosexual privileges. What are they going to say when they’re bobbing in the greenhouse tides? ‘But… I thought we won… I can get married now, I didn’t have anything else to fight for.’ It’s not all about you!”
Actually, that’s where you’re wrong, ANOHNI. It is all about them. Suffering is relative. Telling gay people to get over themselves when they are still denied the same rights as those who are same-sex attracted is not only extremely pretentious, but it’s harmful. You’re saying “Oh, your issues don’t matter because others have it worse.” Sure, others have it worse, but we still have it pretty fucking bad. People still get bashed for holding hands with someone of the same sex. In Australian Federal Parliament, debates rage over the legitimacy of programs designed to help same-sex attracted or trans kids facing bullying. Films depicting same-sex relationships such as Gayby Baby still cause outrage amongst conservative parents. Society still has shuns people with identity issues, so ignoring it will turn it into one of your so-called “real issues.”
And as for your idea that we’ve been tricked into thinking it’s an endgame: no one who is legitimately fighting for human rights thinks that marriage equality is the end. Not even Ivan Hinton-Teoh, the former deputy national director of Australian Marriage Equality, a man who was briefly wed to his husband in the time where the Australian Capital Territory allowed same-sex marriage, believes this as well. We asked Hinton-Teoh what his thoughts were on this comment:
“[Marriage Equality] certainly isn’t the endgame, but a milestone in the journey. Until we, as a nation actively address issues like LGBTI youth homelessness, incidence of suicide, unemployment & violence, legal recognition of trans identity & laws around family that vary across the country & address issues around children born with intersex conditions, among other issues, there will remain work to be done.”
My friend once quipped to me “Why are there gay pride parades, but never a gay humility parade?” It’s a funny prospect, isn’t it? But when you think about it, the reason becomes clear: we aren’t at that stage in our society where we can do that. You need to build up a sense of pride before you can reign it in. So calling identity issues “fake problems” is troublesome.
Reading the interview, it seems like ANOHNI is all over the place with her anger. And yeah, it’s good to be angry at injustice. That’s the right response. But belittling someone else’s struggles because you feel it’s not as important as others, that’s the wrong approach. You can’t just scream “THIS SUCKS” into the world and expect it to change.
Music is an important avenue for political messages, but there comes a time when action has to actually be taken. Society won’t just change because you will it.
And this is at the heart of why I was so frustrated with ANOHNI’s comments, in a broader sense. It’s not just that calling the everyday struggles of those people tearing themselves apart inside as “fake” or “distracting” is regressive and harmful, but it’s also ridiculously smug. It’s as if she’s saying, “Oh, while everyone is focussed on the petty issues, I’m the only one calling out the real problems.” The biggest issue facing the modern left today isn’t inaction, it’s that many liberals are so insufferable. One need only look as far as Oliver Stone’s recent trailer for Snowden. I understand that teenagers are filled with angst, because they’re learning just how shitty the world is. But as you grow up, you realise that simply yelling about everything wrong with the world won’t fix it. There’s a reason Rage Against The Machine stopped making music. This is how we got nu-metal!
So yeah, I’m pissed off. Not just at ANOHNI’s comments, as misguided and harmful as they were, but at the sheer pretentiousness of telling someone their problems don’t matter that much. But hey, I’m mad and yelling about it, so maybe I’m just part of the fucking problem.
Image: axs
It’s that time of year again. Sydney is braced for a bevy of bright lights and brilliant live music, as the annual Vivid Sydney Festival draws ever closer. As snap happy photographers ready their cameras, music enthusiasts our now licking their lips at the talent attracted down under, with the lineup for the festival released today. Here are just a handful of the shows that are certified “must-sees”:
Bon Iver
Justin Vernon has reemerged from his musical slumber and is set to bring Bon Iver back to Australian shores as part of the CERCLE series of performances. With only three prior Sydney shows to his name, this is a must for any music fan that can appreciate lyricism and talent in it’s rawest form. Attendees at the Sydney Opera House will be the very first in the world to see his new show premiered, and considering it was only recently that we learnt Bon Iver wasn’t actually done and dusted, news of his return is among the greatest musical announcement we’ll see this year!
Where: Concert Hall (Opera House)
Date: 27-30 May
Tickets Here
https://www.youtube.com/watch?v=TWcyIpul8OE
Bjork
The eccentric songstress is headed back down under to showcase her newly developed Bjork Digital experience, an exhibition set to showcase: “five unique spaces that will premiere a new virtual reality project from the musician, alongside other collaborations with some of the finest filmmakers and programmers in the world.”
Bjork has recently dabbled with VR technologies, and her work looks set to culminate in Sydney as she tantalises our senses from all angles, an experience that is set to add yet another layer to the mystique of her performance, which will no doubt see the Australian live debut of music from her powerful, emotionally intense 2015 album Vulnicura.
Where: Carriageworks
Date: June 3
Tickets: Here
https://www.youtube.com/watch?v=MWHpoJT3qK4
Polica
When Justin Vernon labels you “the best band I’ve ever heard” you can be certain that you are in for an aural treat when Polica take to the stage to unleash their unique fusion of electronic sounds and indie pop. Returning to Australia after a three year hiatus, we can only imagine that Polica is ready to take Sydney by storm all over again, performing from their gorgeous new album United Crushers, which came out earlier this month and has garnered stellar reviews.
Where: Joan Sutherland Theatre (Opera House)
Date: June 3
Tickets: Here
https://www.youtube.com/watch?v=Rl03afAqeFQ
New Order
The presence of the synth-pop legends at Vivid is sure to set tongues-wagging, with the group set to celebrate 35 years with a “live retrospective” performance that will undoubtedly satisfy even the most hardcore fans. Rejoined by synth wizard Gillian Gilbert, New Order will introduce a brand new generation to the wonders of their discography.
Where: Concert Hall (Opera House)
Date: 1 June, 5 June
Tickets: Here
https://www.youtube.com/watch?v=ftJZomwDhxQ
Oneohtrix Point Never
Described by organisers a “rock-inspired rampage set to stun audiences with cutting synthesizers and decimating bass,” we can breathe easy knowing that we probably won’t be able to hear properly for the rest of the night after catching Oneohtrix Point Never’s Vivid Live performance. Fans can of course expect to hear much of OPN’s stellar 2015 release, Garden of Delete (his seventh album to date), a Nine Inch Nails-inspired industrial, experimental, eclectic electronic album that featured on many end of year best-of lists.
Where: Joan Sutherland Theatre (Opera House)
Date: May 29
Tickets: Here
https://www.youtube.com/watch?v=td-e4i2BL_Q
Anohni
Performing an Australian exclusive premiere as part of Vivid, the astounding talents of Anohni, leader of Antony and the Johnsons, in the form of what is sure to be a stunning live staging of her fifth studio album Hopelessness. Anohni was the first performer announced for this year’s festival, and will no doubt provide a unique and soulful experience, as the self described ‘electronic record with sharp teeth’ takes its rightful place on centre stage.
Where: Joan Sutherland Theatre (Opera House)
Dates: 27 May, 28 May, 30 May, 31 May
Tickets: Here
These are of course just some of the headliners we can expect to see as part of the festivities, with a range of other masterful talents on display:
Deafheaven
And now for something a little different: off the back of their incredible 2015 release New Bermuda, and completely unlike anything else on this bill, heavy-hitting Deafheaven are set to bring their thunderous walls of pristinely complex noise to the Opera House’s Joan Sutherland Theatre. While still a relatively new act in the scene, they have more than made their mark with their three studio records, and have quickly become one of the most important heavy bands in the world. This will be a simply breathtaking show – and for those who aren’t in Sydney, you can catch them on tour across the country.
Where: Joan Sutherland Theatre (Opera House)
Date: 2 Jun
Tickets: Here
https://www.youtube.com/watch?v=d4tyCchDlhM
Hiatus Kaiyote with Sampa The Great
One of the absolute highlights of Australian music circulating today, two-time grammy nominees Hiatus Kaiyote will be bringing their immense talent and impeccably well composed jazz-infused tunes to the Opera House’s main stage. In tow will be Sampa The Great, who, in a nutshell, is Australia’s Lauryn Hill (except hopefully she’ll be a little more frequent with her music output and less so with her tax fraud.) Sampa has toured with Hiatus Kaiyote before, and even remixed a full series of their tracks last year. Arguably two of the best Australian acts around today, this is not to be missed.
Where: Concert Hall (Opera House)
Date: 31 May
Tickets: Here
https://www.youtube.com/watch?v=p3tErZ5LUJY
This is only the beginning of the Vivid announcements, with a myriad venues including Oxford Art Factory, Newtown Social Club, Freda’s, The Lord Gladstone, The Basemen, The Argyle and plenty more set to hold events throughout the festival. Needless to say, we probably recommend taking a couple days to relax and get some sleep before it all kicks off, because there’s something happening every single night.
While the light show and musical performances attract much of the attention and allure of the festival, let’s not forget some of the brilliant minds that are heading our way to deliver “Game Changer” talks. Director extraordinaire Spike Jonze, the genius behind Being John Malkovich, Her, and Adapation will be joined by none other than Beau Willimon (of House of Cards fame) and Jenji Kohan (Orange is the New Black) to inspire and motivate attendees as they bestow their creative wisdom upon us, sharing their insightful gems and anecdotes as they recount their storied careers.
Indigenous Australia is also set to be highly recognised by organisers, with the Sydney Opera House set to be lit up with the works of six prominent Indigenous artists, in a work entitled Songlines.
With 2015 numbers soaring to heights of almost 2 million attendees, we can be sure that this stellar lineup will see 2016 break new ground and further establish Vivid as one of the world’s most stellar culminations of culture and art.
Head to Vivid’s official website for more
Image: Vivid