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Rowing Up River To Get Our Names Back | Anthony Joseph
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Title:Rowing Up River To Get Our Names Back | Anthony Joseph
Description:
Rowing Up River To Get Our Names Back by Anthony Joseph, released 07 February 2025
1. Satellite feat. Eska
2. Black History
3. Tony
4. A Juba For Janet
5. Churches of Sound (The Benitez-Rojo)
6. An Afrofuturist Poem
7. Milwaukee & Ashland
An Afrofuturist Album - produced by Dave Okumu
Constellation of Sounds
by Ivy Wilson:
While often atmospheric in its thematic registers, ranging from spaces of the subterranean underground to the intergalactic, and equally so with its sonic registers, ranging from doubly articulated vocals to the reverb echo, there is indeed something like a core to Rowing Up River to Get Our Names Back. Taken as a suite, the three tracks that make up the middle, if not heart and soul, of the albumââTony,â âA Juba for Janet,â and âChurches of Sound (The BenÃtez Rojo)ââput on display how the cultures and histories of the Black diaspora always constitute both the downbeat and backbeat for Anthony, not just his music but perhaps even his very consciousness. We can hear it in the deep pain when âChurches of Soundâ moves into a poetic ode when Anthony notes that Lord Kitchenerâs Calypso âcroon reached Ghana / just in time for Independence,â and in âA Juba for Janetâ with its dub soundscape, and yet again with the Afrobeat undertones of âTony.â If âChurches of Soundâ is closer to an ode, âTonyâ might be a paean; significant no less because it contains the lyrics from which the album gets its name. It is here that Anthony uses the conceit of seeing Tony Oladipo Allen perform in France to proclaim his admiration of Allenâs virtuosity as a drummer (âHe was duplicitous / a conjure man / with seven hands.â), arguably as significant as any of his counterparts including Art Blakey and Max Roach.
If Rowing Up River to Get Our Names Back has an anthem it might well be âAn Afrofuturist Poem.â The penultimate track on album, and the shortest at 4:41, Anthony opens the song with the line âI am my motherâs son â¦,â seemingly in reference to Toni Morrisonâs famous lines about sons in her novel Beloved, before announcing numerous other sources that constitute his personal and artistic genealogy including his father, I & I, and oil. But in the middle of the song, the bass subsides and for a full 30 seconds Anthony waxes âWe must arrive new mythologies / and syntax / and modes of expression / which are fixed beyond comparison / to alien transmission.â
The resonances of Afrofuturism are everywhere on this album as both Anthonyâs lyrics and Dave Okumuâs production try to âride through space.â There are mentions of âanti-matter propulsionâ and âAfronautsâ elsewhere, but the song that emblematizes Afrofuturism as more than merely spatial temporality is the albumâs lead track. âSatelliteâ is a reminder and encomium that, facing the conditions of modernity, Black folks across space and time have always been curious, if not compelled, by a yearning for the beyond, a beyond outside of the here and now, and sometimes back into the past to press into the future. In this sense, âSatelliteâ shares a sonic accord and political vision with the Soulquariansâ âHeaven Somewhere,â on a version that featured Omar. In an album where Anthony plays with order, sequence, and boundaries, such as when he inverts âalpha and omegaâ to âomega and alphaâ or rearranges the postcolonial model of âcore and periphery,â he concludes that there is, or at least can be, a center: âMoving through / the center / connected to everything (yeah, yeah) / spun out of galaxies / and diasporas / and still at the center / of all that is.â
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Monthly Visits151.5
Pages per Visit1.78
Visit duration00:02
Bounce Rate0.92%
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- Pages per Visit:
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- Daily Pageviews:
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- Avg. visit duration:
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- Bounce rate:
- 0.92%
- Global Reach:
- 1.0E-7%
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Total Visits Last 3 Months
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OCT
151.5
NOV
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