It has been a long, cold, and lonely winter since Rhye has been gone. But the sun is finally shining down on us foolish mortals with the release of his new album, Blood. It’s been five years since the release of Rhye’s breathtaking debut full length Woman, thank Sade that that drought is over.

Milosh, the bands sole member, has a voice that is often confused for that of a woman’s. It has a smokey sensuality that is most often likened to Sade’s, there’s something distinctly mid-80s R&B at play here.

The production quality on Blood is something to be commended. The sweeping horn and string sections delicately kept in check by a traditional four piece set up. We’re introduced to the album with “Waste,” a track that utilizes soft hi-hat and organ along with hand-claps that could be caused by the reuniting of lovers or by the loss of that lover. “Waste” dissipates abruptly after a huge string crescendo almost makes you weap.

On Blood‘s first single, “Taste,” we a feel a familiar song structure that was at work on Woman. A subtle yet driving beat with warm horns and strings floating just out of reach. It begs you to dance with yourself or your closest intimates. The repeated lines “One more time for my taste/See me fall from your eyes to your waist” are thoughts familiar to all but the feels are too personal to whisper to anyone.

With the official release of the album, we are also treated to a music video for mid-album slow sizzler “Count to Five.” The video (partially shot in Berlin’s Teufelsberg) is a collection of women dancing in their own styles. Some cool and collected, seemingly professional dancers, some emotional and free form. The bass is a funky R&B while the guitar is a clean disco. Is there a rain stick in there? Some drone influence?

Blood is out on Loma Vista Recordings, a label whose roster includes Iggy Pop, Marilyn Manson, Ghost, Andrew Bird, and others. If you’re lucky enough to have gotten tickets before they quickly sold out, we’ll see you at Funkhaus on March 30th to witness Rhye in the flesh.

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