The last time Brittney Parks released an album, it was 2022. The world was still in the hey-dey of the pandemic. The idea of dancing with friends in public spaces felt so foreign. That project, Natural Brown Prom Queen, reflected some of this sentiment and provided some of the dance rhythms listeners may have been missing. But with her newest album, The BPM, Parks’ project under the moniker Sudan Archives, paints a landscape of electronic drums, synths, and soulful rhythms of R&B. Sudan Archives utilizes her faithful violin to further establish the “Orchestral Black Girl Dance genre,” a term she coined to describe the field she was harvesting for herself and her music.
On her third studio album, this prophecy feels fulfilled, as her solidity in her own musical identity permeates through every track. The BPM sees a more loose and free Parks, while still working with longtime collaborators like Ben Dickey, and balancing multiple roles in the studio: including producer, songwriter, and of course, vocalist. Some would say Parks has been working towards this evolution since she left her family in Cincinnati for Los Angeles, set on dedicating herself to music and discovering artistic sensibilities beyond what she had already known.
On the first track, “DEAD,” which also serves as the album’s lead single, we are met with a symphony of violin strings that transition into a glitchy drum pattern. As the song picks up towards the chorus, one might feel like they’re being swept up and taken along for a ride. With powerfully enigmatic lyrics, the meaning of her songs are open wide for interpretation. From my own listening, it feels as though there’s a grappling of what happens to the younger versions of ourselves when life gets away from you a bit.
On “YEA YEA YEA,” we receive a sultry four on the floor anthem surprising the listener with more than one variation of slowed down beat switch-ups. Thematically pervading this album and on display in this track, is how intimidated a public dance floor can feel when the sexual tension is high. The following track “TOUCH ME,” serves as the “after” to the scene we’ve just experienced to on the preceding track. Maybe I wouldn’t have such a hard time meeting people if I went to this club Sudan Archives finds herself at!
While romance is extremely present on this album, songs like “SHE’S GOT PAIN” and “”LOS CINCI” explore the darker thoughts of Parks’ mind. The former resembles that moment of clarity that hits you when you’re out drinking and dancing, suddenly confronted with realities you may have been ignoring. Her syrupy vocals make the stark messaging go down a lot more smoothly. Also, can we get a little commotion for the Celtic fiddle portion of this track?
These moments make the more disco and club focused songs like “A BUG’S LIFE” and “THE NATURE OF POWER” even more necessary. Disco legends like Grace Jones, Anita Ward, and Donna Summer would be proud of these two tracks.
Not that we needed a reminder, but the effortlessness of this album shows to what degree music is intrinsic to who Parks is. What serves as something like a thesis to this album is the idea that every person has their own rhythm, or “BPM,” if you will. Of the tools built into each person’s fabric, Park says, “No one can take away your rhythm from you—no one can take away your self-will,” and “All those things can be your own power if you utilize them right.”
In this newfound space and freedom, she is able to bring on additional collaborators, like her sister, Cat Parks, who lent vocals to the album, as well as Parks’ stylist, who created a loop used for the second track, “COME AND FIND YOU.”
While her second album was incredibly impressive and established herself as a musical savant, The BPM shows Parks in a more settled place with her own artist identity. With this comfort, she’s able to raise the bar on herself by taking more sonic risks, creating space for others, all while keeping the dance going.
THE BPM is out now.
Words by Ilana Rubin for Staged Haze
A very very insightful analysis of this creator’s music. I’m very interested in listening to this album. Honestly I have to credit this reviewer’s analysis.