In an age when every fake-tanned pop tart talks tough and gets arrested, Imani Coppola’s the real deal. A brash, biracial beauty with the voice of an angry angel and a truck-stop vocabulary, she’s a blast of originality in an air-brushed world.
‘The Black And White Album’ marks a departure from her usual melancholic sound. The sample-heavy soundscapes featured on albums like ‘Chupacabra’ and ‘Aphrodite’ have given way to a more anarchic, visceral noise, spanning rock, funk, hip hop, punk, pop and indie electronica.
After touring with ghettotech collective Peeping Tom and taking on experimental side projects like 60s ponytail group Little Jackie, Imani has emerged with her most eclectic and personal album to date. There was a lot of biography to mine: as a multi-racial kid growing up in the whitest of Long Island suburbs, Imani basically grew up neutral until she was 13, when hip-hop blew up and she could finally cash in all her black chips.
While still a sophomore studying violin performance, Imani was swept up by Columbia Records. She has gone on to develop an illustrious career that has spanned eight albums.
