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Tag: Emmylou Harris

Three Women: Christa Wells / Caitlin Marie Bell / Steph Casey

Published July 24, 2013 by Stephen Carradini

Christa Wells‘ music is weighty without feeling heavy, as the singer/songwriter balances heft and grace with ease on Feed Your Soul. Wells relies on smooth arrangements and incredible vocal performances to create and sustain that tension. Songwriters like Sara Groves are the best comparison for Wells’ sound: mature, grounded songs with strong melodies and a melancholy streak.

When Wells delves into that sadness which looks longingly toward hopefulness, her songs soar. Closer “Being Loved” is a powerful tune distilled to a simple truth (“being loved is a hard thing to take/I will try”). “You Are My Defense” shows off the complete comfort that she has in her own skin, musically and lyrically. The opening of “Come Close Now” somehow balances being objectively gentle musically (piano/vocals/tapped drums) and subjectively crushing emotionally. Wells knows how to suck the listener in with a minimum of fuss, and that’s a deceptively difficult skill to master.

When Feed Your Soul heads in louder, funkier territory such as “Vanity Vanity” and the title track, the results are less immediately satisfying. I’d much prefer to keep hearing Wells play simple piano and level me emotionally with tunes like “For My Child” and “This Thing Is Not Going to Break You.” The exception is “The Way That You Love Me,” which funnels her emotional command into an upbeat love song much in the same way that Brooke Fraser turned out the wonderful “Something in the Water.”

Wells’ Feed Your Soul is a beautiful, soul-baring record that works with seemingly little effort. The amount of skill, hard work, and time that go into a record like that are almost never recognized, so I’m celebrating those elements here. Wells knows how to write a compelling song, and she knows that the way to turn it from “good” to “great” isn’t always to add more arrangement. I look forward to hearing more from Wells.

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Caitlin Marie Bell does simplicity a very different way. At the extreme, the Americana singer/songwriter goes totally barebones by singing traditional murder ballad “Omie Wise” with only staccato percussion as accompaniment. Bell’s resonant alto voice sells the song perfectly, bringing an Irish flair to the work. Bell relies on her strong pipes throughout Blood and The Water, as she doesn’t employ anything more than a fingerpicked guitar, stringed bass, and gentle percussion to set the backdrop.

The most impressive thing about this spartan setup is not the live feel, but that Bell packs so much personality into the sound. Tracks like “River Song” and “Pallet on the Floor” slot her right in next to some of the giants of the genre both in sound and quality: the former pairs Bell’s lilting voice with the sound of a thunderstorm, while the latter displays a complex intimacy in lyric and vocal delivery. Both will stick with you long past their run time.

Both tunes spin together a small world in a few minutes–that’s hard for any songwriter to do, much less one who isn’t backed by a huge, involved band. The tunes on Blood and the Water possess a gravitas and maturity far beyond what I expect from a debut. These weighty tunes are very worth checking out for anyone who’s a fan of Gillian Welch, Lucinda Williams, Emmylou Harris and other female Americana singer/songwriters.

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The best moments of singer/songwriter Steph Casey‘s Whisper and Holler fall on the “whisper” side of that equation: when Casey’s songs are stripped down to sparse acoustic guitar and voice, her work shines. “Heavy Warm Heart” and the title track are lent an immediacy by their simplicity, as it feels like Casey had the melodies burning a hole in her pocket and just had to get them out there. The delicate guitarwork and engaging vocal tone mesh beautifully, creating magic.

There are some more full arrangements that shine as well: lead track “Nice to Almost Know You” gives off a relaxed, back-porch vibe in its assured/regretful stance looking back on a failed relationship. “Kapiti”builds out a simple Jack Johnson-esque beach vibe into a highly enjoyable track. Both of those tunes fall right in line with the ethos that characterizes the highlights: take one thing and do it well. Added bonus: Casey is a Kiwi. (Australia and New Zealand are just excellent these days.)

Singer/songwriter Laurel Brauns' album is crisp and refreshing

Published November 22, 2011 by Stephen Carradini

I much prefer Colorado to Cozumel. Everything seems clearer, cleaner and more alive up in the mountains. I know that some prefer the easy pace of tropical living, but I associate it with sunburns and itchy sand. I relax much easier on a cabin porch in the woods.

Singer/songwriter Laurel Brauns’ blog is titled Indie Girl in a Mountain Town, and that aesthetic informs all of House of Snow. The album possesses a clear, crisp, refreshing sound that reminds me of my time in Colorado Springs: relaxed, unhurried, simple. From beginning to end, the album ripples with a pleasant, confident vibe. It’s the soundtrack to the montage of good moments before the real trouble of the film sets in.

Brauns’ songwriting pulls from inspiration from the folk sounds expected of a rural, high mountains community, but there’s also a lot of modern singer/songwriter mixed in her sound. Highlight “Westfall” sounds more like Brandi Carlile than Mumford and Sons, and “Kaleidoscope Eyes” is very much the same. “Puppy Love” draws more from a ’50s pop groove than anything else. “Dreams” is reminiscent of angrier singer/songwriters like Ani DiFranco, Fiona Apple, and even Damien Rice.

Throughout the tapestry of tunes weaves a few consistent threads: acoustic guitar, hefty string contributions, and Brauns’ dusky alto voice. The strings are the most surprisingly element of the sound, as they are employed in very different ways, from the forceful thrust of “Dreams” to the graceful swoon of the title track. The album would certainly not be the same without them.

Brauns’ alto is most often the counterpoint to the strings, delivering melodies that ping off the strings and hook in the listener’s mind. She does have elements of more traditional country and bluegrass singers (Emmylou Harris, Alison Krauss, etc.) in her voice, but her songs are varied enough that she doesn’t get pigeonholed into anyone’s footsteps.

House of Snow is a wonderful listen; in an age where the album is getting less and less love, this one is a whole and complete piece. There are standout tunes, but they sound even better in the context of the whole work. That’s something that I admire in a release, which is why I am so enamored with Laurel Brauns efforts here. If you’re up for a folksy, charming album, this one should be on your shortlist.