Shannon Wright - Dyed in the Wool
(Quarterstick)
Shannon Wright has almost gotten there. After having put two full albums, an EP, and a 7" behind her, she has almost reached the point of assembling her perfect record. The trip and process to date has resulted in many memorable moments, but right now Dyed in the Wool is the moment of big payoff.
Flightsafety represented a wonderful starting point. An introductory album full of vivid images yet almost too docile in view of what power you knew was lurking, and possible. Maybe it was just a personal problem on my own behalf, but 2000's Maps of Tacit was almost too intense and raw. Maps represented a near perfect specimen of the power inherent in Wright's live performances in studio album form. On stage Wright demonstrates that she can display deep and honest emotions that can do nothing but affect those in attendance. Separated from the visual component of the performer and the first-hand sensation one receives in the audience, Maps of Tacit presented the listener at home with an expressive and affecting set of songs that, at least for me, push a lot of really uncomfortable buttons. While admiring the record for it's upfront demonstration of emotional songwriting, it is almost too much of a catharsis for repeated play over a short period of time.
Dyed in the Wool picks up from right where the Perishable Goods EP, released earlier this year, left off. The EP quickly became a personal favorite as the mood of the music became a little less immediate and intense while preserving Wright's traditional darker subject matter and emotive delivery. Part of what made this EP so nice was the addition of further sounds to the mix beyond guitar, drums, and piano--bass, backing vocals, piano accompaniments, and xylophones. The creation of a more mixed sound led directly to making the guitar/piano/drum tracks seem more stark and intense in light of their surroundings. Dyed in the Wool definitely takes this theme and moves it even further forward.
"Method of Sleeping" and "Surly Demise" are excellent representations of Wright's now more-varied sound. The former moves from a string-like movement of noise throughout the song's earlier portions and ends with a lullaby-like whisper. "Surly Demise," making use of cello, acoustic guitar, and what sounds to be the "whale song" soundtrack that has long been a staple of her live performances, weaves amazingly between its more dream-like qualities and a raw immediacy. The addition of Jason Noble's pulsing bass and Brian Teasley's drums to "The Path of Least Persistence (Figure II)" create a perfect rocking gem that is quite fresh while retaining the signature sounds accompanying the body of Wright's work.
Shannon Wright has taken great steps forward with each progressive entry in her discography. One can only hope that this trend continues. Dyed in the Wool is an excellent snapshot of an artist who is on the verge of perfection.
|
