This year, three new albums found their way into my constant rotation. One is EMA’s Past Life Martyred Saints, which is the strongest debut album I’ve heard so far (feelings I share with Lindsay Zoladz and Stacey Pavlick). Erika M. Anderson’s spare acoustic-drone psychodrama is all peroxide and rusty razor blades. It’s an interesting stylistic counterpoint to one of last year’s great debuts, Glasser’s Ring, where Cameron Mesirow encrusted her electro-feminist musings with barnacles and jewels. 

The other two albums are huge artistic leaps forward. PJ Harvey’s Let England Shake reminds people who only casually listened to her after Stories From the City, Stories From the Sea that she remains one of rock’s most vital artists. These tend to be the same people who wish she revisited Rid of Me, not knowing that she did in 2004 with Uh Huh Her, which is seething and vital on its own terms. tUnE-yArDs’ w h o k i l l is the other one, and a beast live. Here, Merrill Garbus proves the Blackberry ad wasn’t a fluke and that her debut album’s lo-fi set-up was less an aesthetic choice than a pragmatic necessity. Like Kala, w h o k i l l foregrounds propulsive drumming and struts and shines like a pop record. Both have been met with near-unanimous critical acclaim. They’re also two of my favorite records of the year so far. No contest.

Thematically, they have much in common. Put simply, they’re albums about forging and contending national identit(ies) in countries that have or continue to define themselves by war, a point Harvey articulated about England in her recent Fresh Air interview. They also quote from other artists to locate and conjure their country’s musical heritage. w h o k i l l‘s dazzling opener, “My Country,” references “America” and ”Everyday People” by Sly and the Family Stone, the country’s first prominent interracial, mixed gender rock band. It also champions the United States’ problematic multicultural spirit throughout, with liberal quotations from cultural imports like ska and reggae and Garbus’ omnipresent ukulele. England‘s “The Glorious Land” samples the Police’s “The Bed’s Too Big Without You.” The saxophone and trombone in “The Last Living Rose” sound like a Kinks flourish. “The Colour of the Earth,” an elegy to a dead soldier, barrels along like a pub anthem. Two of the album’s showcased instruments, the autoharp and the zither, echo the lush stringed instrumentation that made 4AD the nation’s home for dream pop in the album’s three-song centerpiece, “The Words That Maketh Murder,” “All and Everyone,” and “On Battleship Hill.” It’s as much a British album in sound as it is for its interest in the First World War and England’s involvement with the ongoing crises in the Middle East.

And while I don’t want to compare Harvey to Kate Bush, another dark-haired musician/lady genius with a complicated obsession with her homeland, I do marvel at how Harvey uses her voice as genderfuck. For an album largely about war and living with its atrocities, I agree that using a breathy tone destabilizes the directness of her words. In its way, it reminds me more of Armando Iannucci’s staggering In the Loop, a piercing satire about Anglo-American politics and the Iraq invasion. Harvey uses her voice to offset and deepen the tragedy. Iannucci and his writing team use comedy to illustrate the stupid, careless banter of ambitious civil servants, career politicians, and military personnel who use words and protocol to kill people and destroy nations. Has anyone synced up “The Words That Maketh Murder” to any scene in that movie on YouTube? It’s intuitive.

But let’s face facts. They’re albums by white women. Of course, we’re a homogenuous group amongst ourselves and these two albums are their own entities. w h o k i l l is an album about being a white woman with a complex interiority. Garbus opines about gentrification on “Gangsta,” fantasizes about making love to the cop who is arresting her brother in “Riotriot,” mourns the loss of a loved one by police brutality on “Doorstep”, and tries to unlearn ingrained body hatred in “Es-so”. While she may be embellishing or fictionalizing at times, she is certainly singing from her peer group’s perspective, specifically the vantage point of relocated urban white hipsters (Garbus recently moved to Oakland). Harvey plays with gender, assuming the role of a traumatized male soldier or embodying a degendered narrator, and her ability to morph into these characters connotes white privilege. Garbus’ play with ebonics (using words like “gangsta,” “powa,” “killa,” and, on her first record, “fiya” for “gangster,” “power,” “killer,” and “fire”) suggests the same thing.

This gets at issues of appropriation. “England” samples Said El Kurdi’s ”Kassem Miro” and “Written on the Forehead” lifts Winston “Niney” Holness’ “Blood and Fire” while employing an omniscent narrator to reflect on the cultural richness and war-wrecked blight of some unattributed Middle Eastern country that Harvey has revealed to be about present-day Iraq, even though several countries still use dinar as currency. These songs gesture toward England’s history as a brutal colonizer, as well as its migratory musical and cultural heritage. They are my favorite songs on the record–elliptical, searching, imaginative. But as is often the case with sampling, that doesn’t mean they’re racial politics aren’t troubled.

In the middle of “Killa,” seemingly an ode to female self-empowerment, Garbus asks “would you call me naive and an idealist if I told you I am disheartened that in this day and age I do not have more male, black friends?” It’s a question imbued in white female privilege. But it’s also an interesting and productive question white people don’t like to ask or think on very often. Best of all, it’s also a question with an answer. It’s why Merrill Garbus was able to study African folkloric traditions while attending a liberal arts college, smear paint across her face, and cite Fela Kuti as an influence. It’s why Glasser’s backup singers put on conical hats for Jimmy Fallon without explanation and no one cries foul. It’s why Kate Bush is allowed to use black people to “color” a music video. It’s why the very concept of eclecticism in popular music is racially loaded and lousy with class signifiers that would make Bourdieu put down his tea cup and furrow his brow.

It’s also a question I could ask to get at why my friend Kristen was one of the few black women in our grad program at UT. It’s a question that gets at the heart at why I didn’t think to introduce her to Cassandra, another black woman in my friend group constellation–because I didn’t want to seem racist for assuming that my black girlfriends would like each other. It also gets at my embedded racism when I sent panicked text messages to them about some pushback I got from my Alicia Keys post. I wanted confirmation that I was racially sensitive and, once I realized what I was doing, immediately apologized for trying to force them into the role of wise black female cultural arbiter when they probably just wanted to sleep or watch television or eat ice cream. It’s why Maya Rudolph’s bridal party is comprised of white ladies. It’s why seeking out a black Zooey Deschanel may be a fool’s errand and thus why it may be more productive to champion Web series’ like the nuanced, hilarious The Misadventures of Awkward Black Girl instead. Because class, race, and white cisfemale privilege color all of this, and like Harvey and Garbus, I directly benefit from it.

When I started this blog, it was out of a personal need to highlight female musical contributions. Now sometimes it just seems like I’m just championing white ladies–hence the delay on a post I’ve been writing in my head for a few months. Nowhere is this more evident than in looking at my record collection, which also proves that fetishizing an eclectic mix of genres across identity categories means having the disposable income to do so (or at least deciding not to buy a car or make a baby with it). And as much as I recommend Georgia Anne Muldrow, pump Betty Davis, put Chavela Vargas on mix CDs, laud Cibo Matto and OOIOO, seek out acts like the Lost Bois, celebrate Jean Grae’s new effort, breathlessly await Psalm One’s next album, and agree that white women shouldn’t only listen to artists that reflect their own identities, it probably reads as either defensive or self-congratulatory for being down. Scratch that, it is being defensive and self-congratulatory. That doesn’t mean I’m only going to make mixes with white ladies on it. I just refuse to take credit or feel good about myself for including Ebony Bones or the Bags on a mix CD.

I’m a feminist because I believe there’s value in aligning with an ethos that’s committed to dismantling the patriarchy and celebrating a transinclusive notion of female identit(ies), even when I have to fight for it to be equitable, acknowledge when it isn’t, and help work toward creating a system of -isms that includes all my sisters (even the ones who don’t want me as their sisters). So I’ll keep trying to be an ally, always call race into question when I’m talking about gender, and assume I have much more to learn than I do to teach. I love music because it transports me both within and outside myself and provides me with sites of identification and something to do on a Saturday night, and then forces me to consider the implications of such mental travel and hive formation. I love writing about it because it clarifies my opinions, opens up a dialogue, and holds me accountable. I love Let England Shake and w h o k i l l, because they are angry, varied, and gracious. And it’s because I love them that I have to question why I do.