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It took me putting the album on a shelf (figuratively) for quite some time until I had the urge to return to it and allow it to slowly envelope me. It has not only become my favorite Beth Orton album, but one of my favorite albums, period.
The musical and artistic change did confuse me at first, as it did most people - it just seemed so drastic. When I was formulating an amazon review in my head years ago, I had a much lesser opinion that drew from the nature-y and very green artwork and lyric content. Listening to the album then, for me, felt like I was being buried in soil in the afternoon - warm, but also claustrophobic.
Now I no longer view the album like that, but more as a celebration of life, even with its faults. This is best represented in moments like the drum-shuffling title cut, the bright and groovy "Conceived", the rollicking "Shopping Trolley" and "Heart Of Soul", which must be a blast to clap and sing-along to in concert. She is also lyrically playful and witty as in "Heartland Truckstop" where she sings, "We’re all bridge builder’s daughters, with incestuous dreams, confidentially speaking all is at it seems." Another example is in the first words that open up the album when she sings, "Worms don’t dance, they haven’t got the balls." Her backing band is tightly behind her every move, as on the intense "Shadow of a Doubt" and the slow-builder "Safe In Your Arms"; the latter may very well be the best track of the album and gives me goosebumps every time it begins. Beth also enraptures her listeners with the stark acoustic numbers "Absinthe", "A Place Aside" and "Feral" which are startling in their naked honesty. All of the tracks rank among her best songs and I never seem to tire of hearing them over and over. This probably comes unexpectedly from their short length, as well as the album’s short playing time over all; just more proof that less can be more to make a very lean product.
The one valid quibble people have about the album is that on CD is that, although very dynamic in audio range, it is somewhat muffled and quiet. It has taken me some time to get past this, as I recognize it was obviously mixed to be this way. I also will admit that, although I am very anti-LP, it does seem to sound the best in that medium, as if that was intentional as well.
The album is an absolute breath of fresh air for Beth’s catalog and the exact kind of switch she needed after the very stagnant DAYBREAKER. Anyone who truly enjoys an artist needs to respect and expect their growth as singer-songwriters, because where’s the fun in hearing the same old thing again and again?
I commend you, Beth, and eagerly await your next release; I hope you continue down the same path and explore any musical ground you feel like trudging through.
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