An album is synonymous to the telling of a story. The amount of work and time that a person pours into crafting their music cannot be disregarded: a story is told through the culmination of each artistic element, from the topics and overall sound to the precise order of a track list. When a musician passes away, it wouldn’t be foolish to assume that the possibility of growing their discography — sharing more stories — concludes alongside them. But what about the unreleased songs? The recordings that never made it to a studio? The tracks rejected from the album?Posthumous releases have existed for decades, with their popularity growing in recent years. From several of Chopin’s opuses, to various Jimi Hendrix albums, and recent releases such as Mac Miller’s Circles and Juice Wrld’s Legends Never Die, the posthumous record is not going anywhere anytime soon. With posthumous content typically showcasing unreleased songs recorded prior to an artist’s passing, these releases can act as a closing hurrah for a fanbase, a final goodbye. However, questions of ethics concerning posthumous products are often debated; people either seem to love them or hate them. If an artist — in most cases — is unable to provide input regarding their art, should these records even exist? If an album or song was not announced preceding their passing, aren’t posthumous releases just exploiting said artist’s legacy? Are they inherently disrespectful?
Despite all of this, one cannot completely reject the posthumous release. Traditions surrounding death are catered more so for the living than for the dead; while a funeral has the ability to celebrate a person’s life, this remembrance is for the comfort of those still alive. As mentioned before, it acts as a final goodbye — much like a posthumous release. In this way, the spirit of an artist continues to thrive through “new” creations; especially when looking at the attention these records obtain.
I can’t say definitively whether I fully support or condemn posthumous music, as there exists a plethora of factors exclusive to each release that establishes its appropriateness. These works exist in an area shrouded in grey; their reception often veering directly towards a hit or a miss. Sure, some albums and songs do more to taint a deceased artist’s discography than honour it. On the other side of the same coin, some posthumous releases compassionately build upon an artist’s body of work; commemorating their legacy. Regarding these releases that fall under the “hit” category, I present to you a list of five posthumous albums that are undoubtedly worth a listen:
1. New Moon (2007) by Elliott Smith
Now, it wouldn’t be wrong to state that I have a bit of a bias towards Elliott Smith. The late musician began releasing music under his name while in the rock band Heatmiser; inklings of what would become Smith’s distinct sound are evident in tracks such as “Plainclothes Man”. His growing success saw the disbanding of Heatmiser, and the inception of what would one day become an illustrious career. The second posthumous album to be released following Smith’s death, New Moon, contains both previously unreleased songs alongside early versions of classics from prior albums such as “Miss Misery”. The songs perfectly fit in with the rest of Smith’s body of work, delivering meticulous guitar heavy melodies alongside soft vocals and heartfelt lyrics.
New Moon is for both new listeners and long-time fans alike. It opens with “Angel in the Snow,” a hauntingly beautiful song touching on themes of tense relationships and addiction, giving greater insight to the 1995 self-titled album from which the piece was originally rejected. While many tracks — such as “Going Nowhere” and “See You Later” — follow Smith’s signature serenity, New Moon further showcases his ability to create stormier compositions; namely “New Monkey”. The album closes with “Half Right”, a melancholic yet comforting lullaby. Accompanied by a simple yet captivating picking pattern, profound lyrics once again enamour his listener, eliciting a feeling of desperation that encompasses a swiftly dying relationship, and mirroring sentiments that many can relate to. New Moon solidifies Elliott Smith’s ability to create something ethereal that is packed to the brim with emotion using just a guitar and his voice — existing as a lullaby that even silence seeks to settle within each of its hollow spaces.
2. Music from Patch Chord Productions (2020) by Mort Garson
Credited as being a key architect in the budding genre of electronic music, Mort Garson was a Canadian composer largely known for his work throughout the 1960s and 1970s. His 1976 album Mother Earth’s Plantasia, specifically its opening track “Plantasia”, has amassed millions of streams; the album made for and dedicated to plants gaining a cult following over the years. Garson’s discography is steeped in an infatuation with outer space inspired soundscapes, carving out a unique auditory aesthetic.
Music from Patch Chord Productions is a recent release from the late musician. Garson’s trademark use of electronic instruments such as synthesizers is no stranger during the album’s run time. Tracks such as “Dragonfly” and “This Is My Beloved” are reminiscent of ‘70s disco music with bouncy — mostly instrumental — melodies. The former song includes dispersed hums of a woman lustfully repeating “Dragonfly”. Other tracks such as “Space Walker'' and “Ode to an African Violet” still incorporate catchy, spacious sounding elements but through a more mysterious, dreamy, extraterrestrial fashion. Although lyrics tend to be scarce in Garson’s discography, his music still possesses the ability to effortlessly communicate specific tones. Garson is well versed in cosmic inspired creations, and Music from Patch Chord Productions echoes this. The perfect way to describe his playful posthumous album is a celestial take of a groovy ‘70s discotheque with kaleidoscope colours.
3. Soul Talkin (2008) by Linda Jones
At the crossroads of soul, gospel, and R&B dwells Linda Jones. The New Jersey native’s experimentation with song form alongside a powerful voice and vivacious harmonies fit together like the pieces of an enticing puzzle. In 2008, Jones’ daughter assisted in the production of Soul Talkin, a posthumous album that can be both danced to and ruminated on. The use of vocal effects and a modernized production style compliment the rest of her discography by cleverly building upon the late artist’s previous works.
Soul Talkin both begins and ends with tracks that carry the same name. These songs simultaneously utilize recordings of Jones speaking, backed by bouncy instrumentals and Motown-esque vocals. Hand–in–hand with the use of studio interludes, these traits erase the line that separates musician and listener — the experience turning into a live performance. The aforementioned marriage of old–school and modern styles can especially be heard in songs like “Linda’s 2 Minute Slow Jam” and “Miss New” — both tracks effortlessly blending influences of 1990s R&B with 1960s soul. While the album includes upbeat songs such as “Can I Dig It” and “Cheated,” the truly special effect of Jones’ mastery is felt through tenderer tracks such as “Sway Me” and “Things I’ve Been Through”. Jones’ voice acts like the sun, allowing her listener to bask in the warmth and love that is radiated. Soul Talkin is both an alluring introduction and a passionate goodbye to the late Linda Jones; a soundtrack fitting for any time and place.
4. Eight Gates (2020) by Jason Molina
Jason Molina is well known by his musical moniker Songs: Ohia, which was changed to Magnolia Electric Co. circa 2003. The project was a rotative collaboration with various artists, with Molina being the fixed member. Molina began releasing music under his name beginning in 2004, following the tonal footsteps of these other works. The recent 2020 posthumous album Eight Gates brings several of his unreleased recordings to the forefront; expanding his already vast discography and acting as a tribute of love for his musical genius.
Opening with “Whisper Away,” the song unfolds and closes through birdsong, fading out to welcome an ominous synthesized buzz. The song is bewitching as its lack of clutter allows for Molina’s poetic lyrics surrounding a feeling of hopelessness to be the centrepiece. This use of minimalism, alongside scattered birdsong and existential themes — familiar characteristics of his art — permeate each track on the 25 minute album. While several of the songs elicit a hue of sorrow — such as “Old Worry” and “Be Told the Truth” — Molina is given the opportunity to illustrate his versatility of tone. Songs such as “Fire on the Rail” perfectly express this fluid nature, not just through the lyric’s coded meaning, but in the overall ambiance of the composition. Eight Gates closes with “The Crossroad + The Emptiness,” a song that effortlessly puts Molina’s talent on display through the isolation of voice and guitar — lulling its listener to a place of serenity. A stunning work of art that highlights the beauty of simplicity, Eight Gates is an affectionate collection of melodic poetry; connecting listener and artist as if Molina made it just for you.
5. The Many Faces of Mikey (2015) by Eyedea
Skillful freestyle battle rapper and songwriter Micheal “Eyedea” Larsen is often touted as being one of the greatest rappers of his generation. His body of work largely revolves around ruminations on existence, and the posthumous album The Many Faces of Mikey is rife with these philosophical influences. The 21-track album flawlessly showcases Eyedea’s immense musical talent and poetic pondering paired with catchy backing tracks that compliment his impeccable flow; making every aspect of his voice the focal point.
The Many Faces of Mikey is the perfect assemblage of unreleased and early versions of recordings from Eyedea, presenting his ability to smoothly convey a multitude of tones and styles. The first half of the album adheres to conventional rap, characterized by muted loops and — of course — rapping. Songs such as “Walking” evoke a playful mood through Eyedea’s layering of vocals while still maintaining a metaphysical undertone within its lyrical content. There is a swift change in style nearing the middle of the album as we go from classic rap to grunge. Through tracks like “Nothing (Unfinished 1)” — implementing a moment of electronic overstimulation — and “Sunspots,” Eyedea trades his title of rapper to singer; from loops to acoustic guitar. While nearing the end of the album, this evolves into a synthesis of the two styles with songs such as “Motormouths Anonymous,” mixing atmospheric and alternative instrumentals with rapped musings. The album closes with “Lines,” Eyedea’s message of questioning the boundaries — or, lines — that society enforces, urging his listener to reject conformity. The Many Faces of Mikey is an enchanting show of the late artists varied musical ability; there is something for everyone — whether that be a lively rap, a gloomy acoustic lullaby, or an amusing jest. ■
Graphics by Audrey Ammann