Flood finds Case continuing to write the lion's share of her material, while also producing and mixing. Appropriately, it's a logical extension of the themes, instrumentation, and mood of Blacklisted. Strolling alongside a frolicking, Jon Brion-esque piano, wordy descriptors and odd details inform a striking gap between the song's haunting title pair.
Confessional only in the most roundabout sense, Case's songs set up strange anecdotal skeletons that beg listeners to connect the dots between. Bound together by an awe-inspiring, harmony-laden hook, the swaying waltz may seem like free-associating farce at first, but subsequent exposures offer slight turns.
There's no right answer to "Star Witness", but its keen open-endedness is an appealing destination in itself. Such complex examples of Case's unique songwriting string theory abound, from the ghostly, near-a cappella "A Widow's Toast", to the quasi-political, fable-based title track, to "Dirty Knife", a haunted-house elegy to madness.
Each track relies on a starkly defined bleakness to guide its queasy understanding of an existence between the bitter end and its sometimes-sweeter aftermath.
What once again prevents Case from delivering a front-to-back classic is a perfectionist streak that accounts for Flood 's mannered meticulousness. She empathizes with widows and mothers of murdered children and allows herself to imagine how joyous it must be to believe in things like the story of John the Baptist or the notions of true love you form at Backed by an all-star cast Canadian country rockers The Sadies, punkabilly guitar ace Dex Romweber, and Garth Hudson of The Band , among others , Case and her co-producer, Darryl Neuforf, make hallucinatory roots music that references past eras without revisiting them.
Known for her hurricane of a voice, Case pulls back, treating these arresting melodies with the delicacy they deserve. As her characters self-medicate, self-destruct, and descend into madness, she finds beauty in the human carnival. She and Hogan sing with tent-revival flair -- like they really want to believe in God sending an angel to check on John and maybe the rest of us, too.
Search term. Billboard Pro Subscribe Sign In. Top Artists. Top Charts. Hot Songs. The depth of styles — in terms of interwoven musical genres, lyrical concerns and emotive resonance — is striking.
The album starts strong, perhaps too strong for its own good, with a stellar opening three-song salvo. The verses build a pressure that begs for relief, finding its catharsis in the effervescent refrain. The last verse, before the song trickles out, is a heartbreaking thesis statement.
The song is Case at her most autobiographical and deprecating. She walks the tightrope between bemoaning and affirming her self-destructive tendencies. Traversing scenery while being perceived as a bride of the devil and embracing the role , she pushes aside bad-blooded relatives and leaves a party gratefully alone.
The narrator is an unholy and unapologetic wreck. The title track is all dour tones and fairytale visuals, rife with the dread and suspense that serve as the underbelly for such yarns. The closing trio of songs is as powerful as the opening one, albeit not as overtly.
Think of it as a creepy lullaby. It starts tempered, though tension is palpable. The tug-of-war between lost love, regret, and wanderlust roil together and push the song along. Assuming the role of a pariah returning home a victor, Case jibes hecklers who previously clawed at the Bible looking for means to banish her, now brandishing some well-earned self-assurance.
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