Random Desire is that outlet inspired by Prince, Todd Rundgren, and other one-man-bands, Dulli wrote, played, and recorded the whole album himself (save for some guest spots from his pals). If Dulli is fronting a band, it’s going to sound like his project, period.Īfter “reuniting”* the Afghan Whigs in 2011 and releasing two albums (2014’s good Do to the Beast and 2017’s excellent In Spades), Dulli found himself in need of a creative outlet as the band again went on hiatus. His bandmates played important roles, but they were always in service to whatever muse Dulli was following at the time. Even if you ignore the fact that Dulli already had a solo debut in 2005 (possibly a technically, since it was released as quote Greg Dulli’s Amber Headlights end quote), Dulli’s bands-the Afghan Whigs, the Gutter Twins, and the Twilight Singers-were always driven by his singular creative vision. Random Desire is billed as Greg Dulli’s first solo project. Even when the subtle power of Richard's voice is diminished slightly by trouble or distress, it's advisable to be on the singer's side or out of the way.FFO: Greg Dulli, Greg Dulli, and Greg Dulli The lack of inhibition transfers into the several romantic escapades, like when her partner is urged to 'Live flagrant, make people nervous,' or to 'Keep it comin' 'til I can't move.' Although Richard is resolutely combatant, only strengthened by each being or systemic force in her way, she's not above writing about her envy and insecurity - as an impenitent wanting 'petty to win tonight' as she is when she's fighting for the upliftment of black women. The title track contains a verse that begins with 'F*ck the heels and dress' and ends with a dismissive 'I'm the motherf*cking king, yeah,' and later uses as punctuation a vintage soundbite from artistic antecedent Grace Jones.

She rejects any expectation and tag that is not self-assigned. Cosmopolitan as ever and adaptive to each backdrop, whether it includes percolating Germanic synthesizers, elastic disco-funk basslines, or window-shaking drums, Richard also keeps her New Orleans hometown at the fore, honoring her Washitaw Nation heritage, indulging in flashbacks, and incorporating musical references that are either understated or happenstance.

On New Breed, her first major release since Redemption, the label-defiant marvel again switches up her supporting co-producers and cooks up another half-hour of authoritative progressive pop. A trilogy of expansive albums plus a crop of intermediary releases and featured appearances did not deplete Dawn Richard's reserve.

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