The
sophomore full length album from Andriana Lehr, Artifacts, is the successor to
her well-received 2013 debut Try to Be True. In the intervening three years
since the release of her first album, Lehr has established herself as one of
the most promising musical talents in the Minneapolis/Saint Paul music scene
and her countless hours spent gigging and surrounded by other top flight
musicians has exerted a noticeable effect over her performances and songwriting
alike. The debut proved that this was a prodigious talent in the making;
Artifacts, however, takes that a step further by hinting at the possibility
that Lehr might be one of the brightest musical lights of her generation and
capable of picking up the torch from her influences like Joni Mitchell and
Brandi Carlisle. The ten song collection was recorded and produced in the
Minneapolis area, but there isn’t a single particle of regionalism on this album.
Instead, this is a top flight professional product on every level and, as a
result, a living breathing work of art.
It
solidifies such claims with the first song. “Outrun the Change” has one of the
album’s best vocal melodies, lively and buoyant, and the moody backing provides
a compelling counterpoint to her singing. Steve Goold and David Goodstein
distinguish themselves throughout this release thanks to their intensely
sympathetic drumming, but it’s Goold’s jazzy touches that stand out most here
and give the song a percolating feel. Goodstein’s playing takes a much more
straight ahead approach on tracks like “Ashes in the Fog”, a track that
nominally recalls the opener in certain respects, but has a much more elegiac,
restrained melody in comparison. The pairing of Ken Wilson’s dobro and Cory
Grossman’s cello on the song sets it apart just a little more and works
marvelously. Goold’s jazzy percussion returns on the song “Catch 22”, but that
little extra step he gives to the rhythm isn’t enough to entirely divorce the
song from its roots in country music. The brisk pace doesn’t curtail Lehr’s
ability to deliver the lyrics in any way.
“Halfway
Home” takes the surprising classical overtones heard on earlier songs and
expands on them without ever getting too far away from the singer/songwriter
beating throughout the track list. Lehr’s aching vocals are never rushed and
the great care she takes with her phrasing makes this song all the more
memorable. “Putting Up A Fight” is the album’s only outright recognizable
ballad, but it isn’t a time for Lehr to lay on the schmaltz and make some
ill-advised attempt for commercial attention. Instead, this is a beautifully
ornate piece that still has a lot of color and never feels overly plotted out.
“Streets of Saint Paul” has a folk singer’s heart, but there’s some of those
aforementioned country and classical music influenced sounds seeping through a
deceptively simple musical attack. The album’s final, “The Expansion of
Everything”, continues along those lines with a patient and well-rounded closer
that makes some attempt at examining what’s come before while still saying
something new. Much of Artifacts is engrossed in looking at the transitions we
all experience in life with a generosity of spirit and, certainly, a fair
amount of regret. It is notable, however, that she concludes her collection
with a song that uses the word expansion in its title – Lehr’s creative vision
has certainly expanded and few singer/songwriters have such a bright future in
front of them.
9
out of 10 stars
David
Shouse
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