Released on:  Play It Again Sam

Release date: 24/01/2011



This third effort from Joan Wasser sees her making a tilt for the big time.  The follow-up to Real Life and To Survive-critical and commercial successes both-sees her expand her sound and deliver a ten song collection that, if at times a little noodly, shows her as artist that is capable of delivering thoughtful, emotive songs in a way that has wide appeal yet is uncontrived and true to artistic roots that have seen her involved with such luminaries as Rufus Wainwright and Antony and the Johnsons.

Stylistically she flits between summery funk, Americana jazz and acoustic balladry.  Lead single ‘The Magic’ sees a Timbaland-esque beat, accompanying organ and electric piano leading us to one of the catchiest tunes on the album as our lusty lead sings of how she is ‘looking for the magic/feeling for the right way out of my mind/looking for the alchemy to release me from my pains I’m making myself.’

The vocal affect on ‘The Action Man’ brings to mind Shivaree and their wonderful (if over elaborately titled)  debut album I Oughtta Give You A Shot In The Head For Making Me Live In This Dump.  Unfortunately this borders on the naff pop soul of Sade and goes on for a minute too long where there is little song development but essentially an outro that plods along on an unnecessary trumpet line.

The ensuing song, ‘Flash’, thankfully breaks the mould with its gentle Celtic overtones and provides some aural respite after three opening songs that are pretty full-on.  Again, though, it’s a little longer than needs be at over seven and a half minutes, with the last two minutes sounding like one of Massive Attack’s less exciting moments. The Bristol collective (pre-Mezzanine) can also be heard in ‘Human Condition’ with it’s lackadaisical loping beat, and the repetition of the title by Wasser’s long-term collaborator Bryce Goggin. There’s a touch of Barry White in the man’s voice and he adds a soft husky sleaze to a song already dripping (if you’ll pardon the term) in sex.

Album highlight ‘Forever And A Year’ sees a far more stripped back approach and bears comparison with Antony and the Johnsons both it its lyrics (‘I’ve always known I would die alone/so here I go’) and the sparse, haunting nature of the delivery that sees some whispered backing vocals from Boggins and another female.  There is an ethereal, otherworldly (but ultimately positive) character to the track, which reaches its (and the albums apex) with ‘so I'm telling you / I love you forever / And this is always sealed / Within the deep deep field.’

Of the record, Wasser herself has declared it her ‘most open, joyous record’ and this rings true throughout as she embraces myriad styles to present a woman who is comfortable both with herself and her sexuality.  You would imagine it would be a treat live with a full tumult of styles to work through, and in ‘Forever And A Year’ surely one of 2011’s most moving musical moments. Whether or not we’ll be talking about it in 12 months time is another thing altogether, but January certainly belongs to The Deep Field.


 

7/10

Posted In Album Reviews, Jan 18 2011. Words - David