All of Us Flames
Returning to familiar sounds of vintage girl groups and rock’n’roll, Ezra Furman writes trans pride and existential fear into an album that feels like her most complete picture yet.
In this way, All Of Us Flames reveals a perhaps more humble and equanimous Furman, an empathetic artist still committed to truth-telling, still railing against the injustices of the world.
On album six, the Chicagoan successfully marries heavy concepts with blaring reverb and sweeping indie-rock. But sometimes less is more
In contrast to the pure punk anger of her last album, Ezra Furman now sounds beatifically calm
Punk in sentiment, pop in sound, and political for the fact it exists, the album weaves justified fury into a testament to community, using past sounds to envision a new future.
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Ezra Furman has seemingly spent her last two albums in constant motion. She first traced a collection of Springsteen-esque stories of escape and romance songs with 2018’s Transangelic Exodus, then quickly offered up an incendiary punk paen to rage and fury with 2019’s Twelve Nudes.
Ezra Furman has always – in essence – been a punk rock performer. Strident, confrontational, and inspiring, she’s forever walked her own path, inviting
Ezra Furman could be to the queer community what Bruce Springsteen is to blue-collar America. All Of Us Flames is a rousing, ambitious record
On ‘All of Us Flames,’ Ezra Furman celebrates the respite and redemption of forging a radically independent path. Read our review.
All Of Us Flames by Ezra Furman album review by Adam Fink. The singer/songwriters full-length is now available via Bella Union/ANTI-
It’s hard to not think about this pain of existence when listening to All of Us Flames, the newest album by queer punk vanguard Ezra Furman — but it’s mostly because Furman is so beloved for her ability to create real, complicated portraits of joy and beauty amidst the sorrows the world inflicts upon us.
To discuss what impact context has on the reception of music is a frustrating debate. Art can’t be divided from an artist, as it directly correlates with the creator’s identity – conscious and unconscious. But once released, the artwork also exists outside of the artist’s grasp and becomes part of the audience’s own biography and
Where a classic American musical sensibility unites with anger. Review by Kieron Tyler