I'm New Here
| I'm New Here | ||||
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| Studio album by Gil Scott-Heron | ||||
| Released | February 8, 2010 | |||
| Genre | Blues, post-industrial, folk, trip hop | |||
| Length | 28:25 | |||
| Label | XL | |||
| Producer | Richard Russell | |||
| Gil Scott-Heron chronology | ||||
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| Singles from I'm New Here | ||||
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| Professional ratings | |
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| Review scores | |
| Source | Rating |
| AllMusic |   |
| The Daily Telegraph | |
| The Guardian | |
| The Independent | |
| NME | 9/10 |
| Pitchfork | 8.5/10 |
| Q | |
| Rolling Stone | |
| Slant Magazine | |
| Spin | 7/10 |
I'm New Here is the 13th and final studio album by American recording artist Gil Scott-Heron, released on February 8, 2010, by XL Recordings. It is his first release of original material in 16 years, following a period of personal and legal troubles with drug addiction. The record was produced by XL owner Richard Russell, who said his production was influenced by the 2009 self-titled debut album of English band the xx.I'm New Here is a post-industrial blues album, with spoken word folk songs and trip hop interludes.
The album debuted at number 181 on the US Billboard 200 chart, selling 3,700 copies in its first week. It has spawned one single, "Me and the Devil", an adaptation of blues musician Robert Johnson's "Me and the Devil Blues" (1937). Upon its release, I'm New Here received positive reviews from most music critics. A remix of the album, titled We're New Here, was produced by the xx's Jamie xx and released February 21, 2011, on XL Recordings.Pitchfork ranked I'm New Here number 45 on its list of the Top 50 Albums of 2010.
I'm New Here is a departure from the rhythmic, jazz-funk and soul style of Scott-Heron's previous work, and embraces an acoustic and electronic minimal sound. Musically, I'm New Here incorporates blues, folk, trip hop, and electronica styles. Music writer Patrick Taylor notes of the album's style, "It's the ragged, warts-and-all approach of the blues versus the more refined jazz soul style he favored in the seventies". It also contains some musical elements of dubstep, electro, and ambient music.Greg Kot from the Chicago Tribune called it a "post-modern" blues album, while Rolling Stone magazine's Will Hermes described it as "a steely blues record at heart — the sound of a damaged man staring in the mirror without self-pity but not without hope".City Pages critic Rick Mason deemed the music "hard-edged post-industrial blues".
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