Daphne Parker Powell
The Death of Cool
Pleasure Loves Company
On her latest album, The Death of Cool, Daphne Parker Powell makes a bold statement fashioned with grit, reflection, and the shedding of pretense.
Emerging from the shadow of breast cancer treatment, the New Orleans singer-songwriter redefines what it means to be “cool,” stripping away artifice and replacing it with unfiltered honesty and emotional depth.
Powell’s sound is vaguely reminiscent of Fiona Apple amalgamated with the lush, high tones of Joni Mitchell, resulting in an oh-so-gorgeous and evocative album.
The Death of Cool ensnares you with luscious piano ballads and the unmistakable brass-infused sound of New Orleans, featuring contributions from Preservation Hall legends and Squirrel Nut Zippers collaborators.
Produced by Jimbo Mathus and mixed by Mike Napolitano, the album oscillates between sensuous, smoldering torch songs and the muscular energy of brass.
“Perpetual Light of the Void” sets the tone with its opera-like dramatic flavors riding a rumbling rhythmic pulse. The simmering bray of brass textures infuses the melody with low, glowing surfaces. There’s an intensity to Powell’s vocals that grabs you with a thrilling gesture.
On “Scorched Earth & the Flood,” a sultry bassline and moody piano support a lush New Orleans arrangement, complete with clarinet, horns, and a slow-burning rhythm. The track reveals a big, open resonance that gleams with fluctuating, voluptuous colors.
“Speak No Evil” offers a hypnotic mid-tempo rhythm that extends into edgy pop-rock. Edgy guitars and a sparkling piano inject a delicious urgency into the melody, as Powell’s nuanced voice parades its flexibility.
The title track, “The Death of Cool,” features Powell and her piano and then adds finessed percussion and layered brass textures, followed by a searing guitar solo that narrates penetrating emotional forces.
“The Stranger” rolls out on an introspective acoustic guitar, as wistful vocals full of heavy passion ride overhead. Still, Powell is at her most compelling on songs with potent rhythms.
“In the Soup Until the Pot Rots” and “Object Impermanence” parade New Orleans’ distinctive horn-based melodic motion, merging elements of blues, funk, and jazz.
Throughout the album, Powell’s voice is the highlight. She holds it all together, at times whispering, at times soaring. There’s a dramatic, affecting timbre to her voice that’s alluring.
On The Death of Cool, Daphne Parker Powell sounds inspired and unselfconscious, effortlessly producing a splendid album about the evanescence of cool.
