ANAÏS MITCHELL: XOA (2014)
1) Any Way The Wind Blows; 2)
Out Of Pawn; 3) Your Fonder Heart; 4) Why We Build The Wall; 5) Now You Know;
6) If It's True; 7) Namesake; 8) Young Man In America; 9) Two Kids; 10) The
Pursewarden Affair; 11) His Kiss, The Riot; 12) Come September; 13) You Are
Forgiven; 14) Our Lady Of The Underground; 15) Cosmic American.
This is not much of an album, really: mostly
re-recorded versions of songs from all across Mitchell's back catalog, plus
exactly three new tunes, none of them promising any new directions or
revelations. Anaïs herself stated that this one was strictly for the fans, and
this was confirmed by the limited status of the release — although these days
such things get confusing, since in the digital / streaming age the line
between «limited» and «full-scale» (or whatever) release is getting
increasingly blurred. Good excuse for a husband-beater snapshot, though.
The new songs consist of good poetry and dull
melodies: ʽThe Pursewarden Affairʼ must have been written specifically to get
potential readers interested in the works of Laurence Durell, but even though I
admit to having never read a single line from The Alexandria Quartet (I am not proud of this, but am not exactly
losing sleep, either), this does not stop me from tipping my hat to lines like
"Percy Pursewarden, open up your door / I haven't come to break your
cadence or to mix your metaphor". And ʽAny Way The Wind Blowsʼ makes a
nice addition to the list of songs by that name, from Zappa to J. J. Cale,
being probably the first one to depict a chaotic-apocalyptic vision based on
that idiom. However, neither of the two has the kind of impact that Mitchell's
best musical stuff does, like ʽYoung Man In Americaʼ, which cuts deep and sharp
even in this stripped-down variation.
And speaking of stripped down, I have no idea
what exactly these new versions of ʽOut Of Pawnʼ or ʽNamesakeʼ bring to the
table, but at least it makes sense that four of these re-recordings come from Hadestown, giving Anaïs a chance to
present the songs according to her personal vision rather than in the context
of a collectively engineered musical project. Personally, I'm all too happy to
hear ʽIf It's Trueʼ without Justin
Vernon, and I think that, although the rowdy ʽOur Lady Of The Undergroundʼ was
done with more balls by Ani DiFranco (because, from a purely feminist
standpoint, Ani DiFranco simply has more balls than Anaïs Mitchell, for better
or for worse, you decide), anyway, I am partial to this subtler, more
vulnerable version. On the other hand, ʽWhy We Build The Wallʼ, with Greg
Brown's «earthwall» voice, certainly worked better on the original version —
although I understand the desire to reiterate how much the message of the song
actually means to the songwriter in person.
In terms of rarities, there's ʽCome Septemberʼ,
a track originally released on the 2008 EP Country,
a collaboration between Mitchell and fellow folk-writer Rachel Ries: pleasantly
moody and melancholic as usual, but nothing to make me rush out and hunt for
that lost EP. And in general, Xoa
produces a strange impression: it has all the makings of an «unplugged» album —
mostly just Anaïs and her acoustic guitar, playing fresh and depply personal
variations — but considering that Anaïs Mitchell has almost always been an
«unplugged» artist, it would make more sense if she played them all as polkas,
or at least as Nickelback tributes or something. And she is not even all that
old now, to get proper justification for looking back over her shoulder on the
confessions of her youth and replaying them as per the wisdom accumulated in
those grey hairs and facial wrinkles. In other words, you have to really be a fan to thank her for this,
instead of harboring the nasty suspicion that, perhaps, she simply stumbled
upon writer's block... which, by the way, seems to be ongoing at the time that
I am writing this: 2016-2017 saw her get all too busy with the production of Hadestown as an off-Broadway musical,
and altogether we have not heard a proper new Anaïs Mitchell album since Young Man In America. Then again,
there's so many people in the world who do
release new music even though they are suffering from even worse attacks of
writer's block that the decision to release a bunch of re-recordings might
count as a noble example of artistic honesty these days.
No comments:
Post a Comment