“If Giver Taker was an album of prayers, The King is an album of curses.” Anjimile won the world over with the clear–eyed honesty of their first record – a meditation on spirituality and liberation. In 2019 he recorded Giver Taker, a collection of songs written while getting sober in Florida. Giver Taker was critically adored – Rolling Stone Magazine deemed it one of the best 50 albums of 2020. Since Giver Taker’s release, Anjimile tested new material on the road while opening for artists like Jose Gonzalez, Tune–Yards, and Hurray for the Riff Raff. In his sophomore album, The King, he continues exploring what it means to be a Black trans person in America. The brutally honest reflection of 2020’s deadly summer is less reminiscent of the pink cloud of early sobriety and more rooted in the reality of seeing brutality with clear eyes.
Anjimile has been hustling for over a decade in the indie music scene, first hitting the stage in Boston
while he attended Northeastern University as a music industry student. Anjimile recorded several EPs and albums on their own, and their star rose when their 2018 NPR Tiny Desk Concert contest entry was deemed the best out of Boston. The King is the result of decades of hustling, centuries of survival, and one artist’s honesty and bravery.
Anjimile has been hustling for over a decade in the indie music scene, first hitting the stage in Boston
while he attended Northeastern University as a music industry student. Anjimile recorded several EPs and albums on their own, and their star rose when their 2018 NPR Tiny Desk Concert contest entry was deemed the best out of Boston. The King is the result of decades of hustling, centuries of survival, and one artist’s honesty and bravery.