Joan As Police Woman “To Survive” Album Review
Torch songs, chamber music (Torture Chamber anyone?) regardless of what it is referred to, there has been an ever growing amount of deathly, epic, highly romanticised acts of late. In the wake of the success of Antony Hegarty and Rufus Wainwright, a small surge of similar and associated acts began to gain exposure. Some were worthwhile, some less so. From appearing on albums by both the aforementioned artists, the extra press certainly didn’t hinder Joan Wasser, in her quizzically titled group, Joan As Police Woman.
Their first release “Real Life”, from 2006 was a real treat of a record. Varied, sparse and a little damaged, it left a definite impression on those who allowed it the time to explain itself. Multiple listens did nothing to detract from the enjoyment that this record brought. The quality was backed up by some amazing performances on an extensive tour that took them through most locations twice before they finished up to record album number two.
This brings us to the release of “To Survive”. Which is an entirely different affair altogether. It begins with “Honor Wishes”, which is musically, quite similar to one of Keith Jarrett’s Koln Concert compositions, simplistic and emotionally descriptive, something that was prevalent in her earlier work. “Holiday” is pleasant, yet wholly unmemorable, a highly polished version of previous singles. “To be Loved” is quite beautiful and reminiscent of her tragic lover, Jeff Buckley, sounding like a lost recording from the “My Sweetheart The Drunk” sessions.
From here on in, it is my great disappointment to report, that the album descends greatly, interest is replaced with apathy and boredom begins to set in. From an artist who has proved herself both original and distinctive, there is very little here to separate her from the legions of mediocre female vocalists adored by those who like to watch Jools Holland and work in marketing and middle management.
If however, you do work in middle management, pretend to know about wine and hold dinner parties for networking purposes, this may just be the album that you are looking for. It is so highly polished and bland that it couldn’t really offend anyone, which makes it equally difficult to be so damning. This combined with the fact that I am exceptionally fond of her as an artist; it was a great shame to find out that this record could easily be placed between someone’s Norah Jones and Katie Melua albums.
There is nothing even remotely upbeat contained on this record, which is strange given the power behind such songs as “Cristobel” or “Eternal Flame”. The production sounds oddly dated and cushioned. Everything is awfully safe, the vocals fitting just a little too perfectly with the stripped down backing tracks. The other musicians becoming less and less relevant as the album goes on.
It is the easiest thing in the world to criticise a sophomore offering and make unfair comparisons to a highly regarded debut. This made it hard to be overly critical, however, if you can listen to an album by an artist whom you respect and still feel that it is awful, then there must be something wrong.
Difficult listening and seemingly lengthy for a forty five minute record, it never offers the listener anything appealing to counteract the overall feeling that this could have all been a lot better. Like Tori Amos B-Sides. Don’t bother.
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