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Sep 20, 2017 Web Exclusive By Laura Stanley

On the cover of Moses Sumney’s long-awaited debut full-length album Aromanticism, Sumney is levitating about a foot off the ground; his head is not visible. Given that his hands are clasped behind his back in tangled prayer, perhaps Sumney’s head is bowed. Or maybe it’s floating high above the clouds, providing Sumney with a perspective that prayer does not offer.

Both seems plausible from the sounds of Aromanticism. The majority of the album is ethereal and angelic-the soft guitar playing, muted electronic beats, and occasional interjections from strings and a flute make sure of this. On “Plastic,” Sumney asks, “can I tell you a secret?” and the question hovers for a moment before it hops on the back of a passing breeze and goes quickly out of sight. At other times, Sumney’s wings have been clipped and he drops to his knees and prays in blood stained dirt. Both “Lonely World” and “Doomed” are desolate tracks where Sumney aches for companionship and clarity in the face of darkness. On “Make Out In My Car,” Sumney summons someone but doesn’t ask for much, just for the fleeting pleasure that kissing in a car can bring.

In whatever space Sumney occupies though, he commands your attention: “Trust me, I am the sun and the sea,” he orders on “Don’t Bother Calling.” His rich falsetto trembles but is strong like a flower that blooms in a sidewalk crack. As if to say: here I am, in spite of everything. Throughout, Sumney’s gifted voice is a constant source of fascination and pushes the beauty of Aromanticism to triumphant heights. (www.mosessumney.com)

Author rating: 8/10