Cohords for leah do not stand at my grave and weep

вЂњI Know the EndвЂќ packs an albumвЂ™s worth of ideas into five minutes and 45 seconds. Take direction at your own risk, but nobody can doubt their commitment. El-PвЂ™s production reins in his usual glitchy energy of a in favor of near-military restraint as he memorializes Eric Garner, and Killer Mike casually advocates for the murder of our corporate overlords. Enter Pharrell, reciting a mantra about the circular clutches of modern capitalism in the laconic tone he once used to brag about his Gandalf hat enter Zack de la Rocha, erstwhile Rage Against the Machine frontman, incendiary and conspiratorial about wanting to rip those systems apart.

As with all must-see serialized dramas, the guest stars are just as impressive as the main cast. Like any superhero team-up or buddy comedy, the formula for an RTJ song is carved in stone by now: Killer Mike the swaggering priest and El-P sardonic philosopher, threatening R-rated violence and revolutionary action over sounds rescued from hip-hopвЂ™s golden era and retrofitted for pre-pandemic festival stages. But in a year like this one, it breaks your heart. Heard at any time in the four decades since its making, вЂњEchosвЂќ would be touching. Listening to вЂњEchosвЂќ is as poignant as stumbling upon a roadside shrine of flowers, candles, and photos, but Ferreyra goes beyond creating a memorial to Mercedes: She defies death itself and resurrects her niece as an aural apparition. At other points, the melted murmurs and shimmered syllables feel soothing and psalm-like, as though the girlвЂ™s ghost is mourning herself.

In places, the young womanвЂ™s voice flickers and trembles with playful delight, sounding impossibly alive. Recorded in 1978 but released for the first time this year, the piece is woven entirely from the voice of FerreyraвЂ™s niece Mercedes Cornu, who died in a car accident prior to its composition. Argentine composer Beatriz Ferreyra is renowned for the disorienting spatiality and shape-shifting abstraction of her electronic and tape-based work, but itвЂ™s the human scale and raw intimacy of вЂњEchosвЂќ that startle.

Cohords for leah do not stand at my grave and weep