Rachel Goswell - Waves are Universal
(4AD)
Nearly 15 years ago, Ms. Goswell floated out of Reading on the wings of an angel and has been breaking my heart ever since with some of the most gorgeously ethereal vocals this side of Cocteau Twin, Liz Fraser, minus Liz’s trademark, occasionally indecipherable, invented language (“coct-ese”). Along with partner Neil Halstead, Goswell delivered seven albums of some of the best shoegazing pop and melancholic country folk to pass through our earwaves via their two disparate projects, Slowdive and Mojave 3. Halstead tested the solo waters a few years ago with the well-received Sleeping On Roads (2002, 4AD) and here we have one of the most eagerly anticipated solo releases in recent memory. As much as I’ve cherished Mojave’s recent releases (in fact, Spoon and Rafter was my favorite album last year), I’ve rued Rachel’s diminished role in the group as Halstead assumed most of the vocal duties. This is tantamount to having Sandy Denny stand around while Richard Thompson sang all the Fairport Convention tunes.
So what a pleasure it is to find my consternation was well-founded, as Goswell’s crystalline tones are treacle to my ears on these sedate, atmospheric, predominantly acoustic arrangements from guitarist Joe Light and producer/bassist, David Naughton that are not far removed from Mojave’s folky, Nick Drake/Leonard Cohen/Bob Dylan pop, suggesting that while Halstead’s name may be on all the M3 writing credits, it’s easy to spot his muse’s influence. “No Substitute” features Mojave’s laidback country vibe and could easily move a million units if released as a single in the US country & western market if they weren’t such a close-knit, Anglophobic lot. Linda Ronstadt or Emmylou Harris could work wonders with this one.
Goswell’s breathy, little girl squeals on “Deelay” are cannon fodder for teenage boys the world over (wink, wink), and us dirty old men can groove to Naughton’s beatnik-styled guitar knock, heartbeat accompaniment, and accordion flourish that adds a groovy European flavor. The naked honesty and intimate, closed-quarter arrangement (headphones, please) of “Plucked” turn it into one of the year’s most achingly beautiful love songs, and by the time Jeremy Perl’s cello and Bronwyn Stride’s violin wander into the room, there won’t be a dry eye in the house. “Hope” and “Shoulder the Blame” are more acoustic, folky winners in the finest Janis Ian /Mary Lou Lord tradition, with the latter particularly suited for immediate induction into Lord’s current setlist.
I think I heard a bead of perspiration break out on Rachel’s brow during “Coastline,” one of the album’s few rockers (featuring some stellar slide work from Light) and the set’s closest resemblance to Slowdive’s swirling wall of sound. Saving the best for last, closer “Sleepless & Tooting” may be the year’s most perfect pop confection. (The title, by the way, refers to the location of the studio (The Sleep Shelter) where it was recorded, not “tooting” a doobie before bedtime!) Essential listening, especially in front of a warm fireplace as the cold, wet, wintry months creep up on us, and one of the year’s best.
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