I was slightly delayed getting this review
written because I went out for dinner with friends last night. I sometimes
think how much better or more prolific of a writer I would be if I just hunkered
down in front of the keyboard more often.
That might be true, but while I only have so
many chances to write words before I run out of days, I also only have so many
dinners out with friends, and those moments are just as precious to me.
Disc 1326 is… Alela Diane & Wild Divine
Artist:
Alela Diane
Year of Release: 2011
What’s up with the
Cover?
The traditional Giant Head cover – and the second straight Alela Diane review
to feature a Giant Head – only this time in profile. Profile or straight on I
am a fan of Alela Diane’s Giant Head.
How I Came to Know
It: I discovered Alela Diane
through a Jim Vorel article in Paste Magazine about obscure folk records (there’s
a link to it back at Disc 1000). I then dug through her discography, but at
the time I decided one album by her was enough.
When she released a new
album (2018’s “Cusp”) I initially decided not to buy it, but later changed my
mind after giving it a second listen. Then earlier this year I was in Portland
and saw her “Wild Divine” record and on a whim, decided it also deserved a
second listen. And so here I am – surprised to be won over yet again.
How It Stacks Up: I have three Alela Diane albums, and all are
good. I’d say I’m not getting anymore but recent experience has taught me not
to be so hasty. For now, “Alela Diane & Wild Divine” comes in at #2,
despite its unnecessary use of the ampersand where a word would have served
just as ably.
Ratings: 4 stars
I'd like to call Alela Diane the Golden State
Warbler. True, it isn't her nickname, but if you know your birds, it fits. The California-born folk musician sings
like a songbird, trilling up and down through notes that few humans can hit,
and fewer still can make musical.
Diane does both with ease, singing with what
seems like abandon until you try to recreate it. Any such hubris on your part
will almost certainly resemble the yowls of a strangled cat. It is then,
mid-failure, that you will realize what an exceptional and inimitable vocal
talent she is.
No caterwauling will be found on the tightly
compacted 10 song, 37-minute effort that is Diane’s only effort with backing
band Wild Divine. It is a joy to hear her tell her truths, sometimes dusky and
mysterious, sometimes bright and clear, and usually both within the same song.
The alternate angle she applies to songs gives
the record a wondrous cohesion, despite many different musical styles in the
background. “Elijah” has a simple Gordon Lightftoot-style guitar strum
in the background. “Heartless Highway” goes for a jazz lounge vibe that
borders on affectatious. Both work because Diane’s delivery works as a magnet,
pulling both styles to the center she creates.
Her vocals were so compelling that even after
multiple listens I had a hard time paying attention to the stories she was
weaving. That’s a shame because in addition to being a gifted singer, Diane is
a born poet. The songs are lush and coy with their secrets, daring you to miss
a single phrase and still piece together the story. Consider these lines from
the haunting “Suzanne”:
“On the ceiling, hand painted
flowers
In my heart, galloping horses
There was a death, forever lingers
Like the scent of antique roses”
The song is one long continuous poem, and just
pulling those four lines it is hard to know where Diane is coming from, or
where she’s going. If you want to know more, you’ll have to listen to it yourself.
Things aren’t perfect on the record. “Heartless
Highway” barely survives the jazz-inspired arrangement, rather than benefiting
from it. And I’m not just saying that because I don’t get jazz – although that
is probably part of the reason. Diane also risks breaking the mood of “Desire”
by spelling out the song title in the chorus (I generally only like my words
spelled for me in a rap song). Fortunately, the song is just too full of
restless ache to be denied.
To some extent, that restless ache permeates
every song on the record. It may be a bit overpowering when you first hear it,
but that’s just you having a case of the feels that you weren’t expecting. Give
her a chance – and a second listen – and you’ll be glad you did.
Best tracks: Elijah, Suzanne, Long Way Down, The Wind, Desire, Rising
Greatness
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