For me, great art is defined by how it reveals some hidden part of its creator. It allows me to know the artist without the benefit of his or her physical presence, yet leaves me with an indelible impression nonetheless.
Under this limited rubric, Paula Frazer's new solo album, Leave the Sad Things Behind, is a great work of art. Frazer, the lead singer of alternative country rockers Tarnation, has weaved an intricate quilt, baring her soul in the quest for understanding her relationships to the outside world.
Musically, Frazer sticks fairly close to her country roots. Yet she also seems possessed by a female Chris Isaak-ish persona, who leads her past the familiar strands of Tarnation and into a more bluesy, rootsy musical form from years past. As with much of Frazer's other work, the mood here is rather subdued, with bittersweet lyrics. However, the musical arrangements on this album are at times exalted, especially the delicate interplay between Patrick Main's honky-tonk keyboards, the intensely beautiful cello of former Kronos Quartet member Jean Jeanrenaud, Frazer's electric rhythm guitar and Carrie Bradley's violin. With these pieces, Frazer presents some of the most innovative and divinely inspired ideas recorded for alt. country in a long time. The sparseness inherent in these songs provides opportunities for Frazer to summon her sublimely layered vocals to add an exotic topping to the instrumental brews on the album.
The opening tracks, "Always on My Mind" and "Waiting for You" are perfect examples of the tremendous mix of influences which make this hybrid open it's petals to the morning sun. "Always on My Mind" made me think of the lonely, disparate circumstances that Isaak often sings of. "Watercolor", had it been recorded earlier, would've been chosen by Robert Rodriguez and The RZA to appear on the outstanding Kill Bill soundtrack.
While Leave the Sad Things Behind is a seminal work, it is by no means perfect. There are a few songs, the title track and "Taken" that exchanges the stark, brooding observations for a more upbeat pop feel, taking on a fuller instrumental presence. Frazer's voice seems plaintive on these tracks. Perhaps she felt overwhelmed by the keyboard dub work and the pounding drums while she attempted to make her hauntingly beautiful yet wafer thin voice fit where it doesn't belong. No matter. Small foot faults such as these are to be expected when challenging unfamiliar terrain.
In the world of art, there are popular, mass produced works that no longer carry the creative force they once did, the big masterpieces that everyone can recognize as such for generations to come, and the little masterpieces that will go unacknowledged for a number of years. Leave the Sad Things Behind is a little masterpiece which shines light on some of Frazer's more unbearable truths, and will gradually attract more adherents to worship at the edge of her magnificent canvas.
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