No one could ever call Natalie Merchant a rock shouter. Since the debut disc by her former band, 10,000 Maniacs, her signature has been a wispy vocal technique that sounds like it was dosed with novocaine. To match this narcotic singing style, she has focused ever more on ultra-mellow, introspective songs that suggested intimacy between the singer and the listener.
Apparently this disc is meant to be a document of her intimate style, captured live. Recorded during a series of dates at the Neil Simon Theater in New York, the emphasis is almost solely on emotive balladry. But rather than promoting intimacy, Merchant's shtick acts as a soporific: not boring exactly, but akin to warm milk.
While the musical support is thoroughly professional and the recording excellent, much of the soundscape relies on atmospheric ornaments: subdued percussion and evocative guitar effects. Besides drawing heavily from her two solo albums, Merchant and her band also take on two classics in the canon of rock introspection: Bowie's "Space Oddity" and Neil Young's "After The Gold Rush," not making a distinctive impression with either interpretation. The best that can be said is that it isn't an unpleasant experience, but it's also not particularly affecting. That is unless you're operating heavy equipment.
All recordings courtesy of Elektra Records. ΓÇ£WonderΓÇ¥ and ΓÇ£Carnaval,ΓÇ¥ written by N. A. Merchant, courtesy of Indian Love Bride Music (ASCAP). ΓÇ£Dust BowlΓÇ¥ written by N. A. Merchant and R. Buck, courtesy of Indian Love Bide Music/Christian Burial Music (ASCAP).
