Emily Fairlight - Mother of Gloom

  by Malcolm Carter

published: 21 / 9 / 2019

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Review

New Zealander Emily Fairlight recorded her second album, ‘Mother of Gloom’, at producer Doug Walseth’s studio in Austin, Texas. Fairlight describes the music she creates as “doom-folk”; if we have to stick a label on the extraordinary sound that Fairlight makes then it’s as good as any I guess but it’s an impossible task to describe Fairlight’s unique work in a couple of words, no matter how well chosen. The same could be said for all the comparisons that have been directed at Fairlight. Flattering as they may well be and there might well be a hint of most of those mentioned floating around ‘Mother of Gloom’ at times, but Emily Fairlight has a voice of her own which she sets in such appealing soundscapes that any comparisons seem pointless. Fairlight is simply one of a kind. ‘Mother of Gloom’ is an important album. A co-release between Occulation Recordings and Fishrider Records gives initial indication that something special is going on here. but even with those credentials it still comes as something of a shock just how brilliant ‘Mother Of Gloom’ actually is. It’s a dark album, full of shadows, shapes lurking behind trees and the feeling that something beautifully twisted is happening. An album that is so rooted in darkness really shouldn’t sound so beautiful. But it does. The widescreen soundscape, in which banjo, omnichord, vibraphone and accordion all play a major part, is given more texture with the aching displayed in Fairlight’s melancholy vocals. Those haunting vocals although touching upon feelings that we all experience at some point - everyday struggles, a sense of loneliness - not only lift the listener out of their own little world for the duration, but strangely and ultimately shards of light start appearing through that darkness. It might not have been Fairlight’s intention but, by opening up and letting us share her journey through those dark, twisting paths that one feels she has been travelling a few times, Fairlight has offered hope and a way out of the shadows. That is why ‘Mother of Gloom’ is such an important album; Fairlight’s art touches people, rich soundscapes rolling by as you are drawn in by her unique vocals makes for a listening experience that is all too rare. There are so many talented musicians right now that are loosely tagged as ‘folk’ in all its myriad forms, but Fairlight is the only one who has taken this particular path. There’s an otherworldly feel to the album; at times it’s like Fairlight is not of this world; that she inhabits a place many have visited and wouldn’t wish to return to yet she makes it irresistible, so warm and beautiful. The opening song, ‘Body Below’, gives notice that something special is going on here as soon as the acoustic guitar plays. Immediately the atmosphere is unsettling. The introduction of violin and Fairlight’s ethereal vocals instantly capture your attention. Out of all the comparisons only one comes to this writer’s mind and it’s that of Martha Wainwright. Maybe as Fairlight borrowed this album’s title from Wainwright’s most famous song that has coloured that view as it’s the only point on the album where Fairlight‘s voice can or should be compared. ‘Drag the Night In’ follows and this country-flavoured waltz is proof that Fairlight isn’t all about darkness and shadows in the arrangements of her songs. Less of a soundscape and more of the type of song we wish we could hear on evening radio. While Fairlight’s sound is instantly accessible this particular cut finds her at her most radio-friendly. ‘The Escape’ takes in the dreamlike qualities that pervade throughout the album; a gorgeous melody, outstanding vocals from Fairlight and a soundscape that will take over your mind for the rest of the day. It’s an outstanding piece of music. Although a lyricist of some worth one of the standout tracks is ‘The Desert’, a two-minute wordless atmospheric soundscape in which Fairlight’s vocal contributions say more than any actual lyrics possibly could. If David Crosby’s ‘I’d Swear There Was Somebody Here’ touched you all those years ago prepare for the same experience here. ‘The Bed’ sounds like it comes from a completely different era. With its accordion and trumpet playing major parts it’s like it’s been lifted straight out of a spaghetti western sung by a Parisian chanson, while ‘Nurture the Wind’ complete with banjo lends a country/soul vibe. ‘Mother of Gloom’ is a beautifully dark album that will bring light into so many lives. The closing, short ‘Breathe Baby, Breathe’ which only features the title line repeated over and over, is a superb way to close the album, demanding the listener to hit replay. Much will be written about how deep and personal ‘Mother of Gloom’ is; how elements of almost every major singer-songwriter of the last five decades can be found in her vocals but take the album for what it is, a major release from an exceptionally talented artist who is truly in a class of her own. It’s one of those albums that you need to keep within reach.

Track Listing:-

1 Body Below
2 Drag the Night In
3 The Escape
4 Water Water
5 Private Apocalypse
6 The Desert
7 Time's Unfaithful Wife
8 Sinking Ship
9 The Bed
10 Nurture the Wild
11 Loneliest Race
12 Breathe Baby Breathe