Blending cutting-edge, electronic grooves and a timeless folk vocal, “Mercedes Lament” is the sound of worlds, not to mention eras, genres, scenes, and styles, very gently colliding. The tantalizing tick of clipped, cool beats provides the momentum; moog-y moods fill the background; space abounds; and through it all Daniella Goldfine weaves a heart-aching narrative of love and loss. She tells the part of the story that Dumas left unsaid at the end of his classic tale The Count of Monte Cristo, as Edmund finally returns to Mercedes, and we ask ourselves whether their relationship can ever be the same.
Lyrically in the style of folk music since time immemorial, musically sitting not just in the here-and-now, but perhaps edging into the what comes next?, “Mercedes Lament” is a reminder that the purpose of music doesn’t really change, just the music that carries it moves on. Mankind has always been storytellers; this is just the sound of that art moving with the times.
“Mercedes Lament” is suitably downtempo, as befits such a haunting tale, but it also has groove aplenty. It is both spacious yet full of gentle momentum; it builds tension as it reunites the star-crossed lovers; it is both modern and timeless, artistic and intelligent.
That’s a lot to fit into three and a half minutes, but so beguiling is the tale, so accessible the music that Goldfine’s final drifting vocals are floating off over the sea before you know it.
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