Anjimile
The King

LA RECENSIONE

The King risks being the magnum opus in Anjimile Chithambo's discography; whether it's due to the enthusiastic reviews in the major publications or because it exudes epicness from the artwork and the themes narrated in the tracks. When it's time to listen, expectations align perfectly with the album's content.

Compared to the previous Giver Taker, Anjimile and producer Shawn Everett opt for a sparse and heavy sound. Despite most tracks being composed of acoustic guitar and voice, the novelty lies in how this instrument has been used. It is omnipresent and sometimes modulated; the rhythm is decisive and at times pounding (Animal and Black Hole) while elsewhere, the drummer from Big Thief James Krivchenia also features among the guests.

The litany resembles the old bluesmen with their gospel, here adopted as a successful language narrating the violence of the Old Testament. Because the idea of The King is to relate current social themes, such as racially motivated incidents involving law enforcement in America and the transphobia that closely affects the artist, to the sacred scriptures.
By Anjimile's own admission, the album also reflects, from an autobiographical aspect, a dark period in his life involving alcohol addiction followed by a rehabilitation process. Anjimile emphasizes that those who make these songs their own can also be someone who, unlike him, has not faced gender dysphoria but shares the same acceptance issues in society in any context.

The King is an album full of strength and vulnerability, which then go hand in hand.