I’m a longtime fan of Anna-Lynne Williams, and have followed her remarkable trajectory as a bright light in Trespassers William, guest spots with such techno luminaries as The Chemical Brothers, and her lovely solo gig as Lotte Kestner.
Her latest album, like all her work, is gorgeous, intimate, and feels like it was written especially for you. As I listen while a record-breaking blizzard approaches my New England home, I can attest that her new release is the perfect soundtrack for staying inside and curling up by the fire.
Anna-Lynne’s voice is especially lovely, unadorned by anything but simple piano and guitar on most tracks. She manages to turn Beyonce’s “Halo” into something otherworldly, which would be deemed impossible by most artists. And I like the ominous overtones of “Eggshell”, as keyboard and a simple percussion track back Anna-Lynne’s fragile voice.
On “Turn the Wolves”, Seattle-based singer songwriter Damien Jurado takes a turn on harmony vocals, adding a counterpoint that is woven in nicely. He is a kindred spirit, and I could see these two performing together on future ventures. Other guest musicians include Arnar Gudjonsson of Icelandic band Leaves with piano on the ethereal “Leaves”, reminding me of the patter of raindrops on fallen leaves. Finally, Anomie Belle, who have collaborated with Anna-Lynne in the past, contributes violin to the hauntingly beautiful “Cliff”.
Anna-Lynne pulls off her brand of confessional dream folk with flair, something few similar artists could do without it coming off as cloying and false. Her music never sounds a wrong note, and this memorable cycle of songs will resonate with listeners long after the final note has faded away.
