Joanna Newsom – Ys
January 23rd, 2007 by rui
"There’s a light in the wings, hits the system of strings"
When I first received my copy of Joanna Newsom’s second album, Ys, I was slightly disappointed to see that it only contained five songs. But after listening to them, it is clear that to call them mere songs is to do these fine works a great disservice. They are epics. Four of the tracks are twisting, orchestral pieces, changing pace and tone over several distinct sections. In fact, the shortest clocks in at just over seven minutes. These are not your average pop songs.
Compared to 2004′s Milk-Eyed Mender, Ys is a strange beast. Instead of sparse, short songs showcasing Newsom and her harp, veteran orchestrator Van Dyke Parks has spun his magic over the tunes. The arrangements are rich and expressive, complementing Newsom’s voice and songwriting. However, the delicacy of the harp sometimes gets lost in the orchestral melee. The vocals are a pleasant surprise from the previous album too. Her sound has mellowed, sounding fuller and sweeter, although she still maintains a wide-eyed naivety, with the occasional squeaky moment. I also raised an eyebrow when I discovered that the vocals were recorded by Steve Albini, more famous for coaxing larynx-rending screams from the likes of the Pixies, Nirvana and PJ Harvey.
The songs themselves are rambling structures, generally lacking in the solid choruses or refrains found in much modern music. Instead the music embraces a more classical tradition of theme exposition, development and recapitulation. Ys opens with Emily, a heartfelt tale of sisterly love and astrophysics. Over the song’s duration, subtle harp and swooping, bluesy strings give way to frantic pizzicato, then touches of country-style banjo. Baroque stylings and cartoony bassoon underpin Monkey and Bear, an allegorical tale that is pure Aesop’s fable. The song ends in a violent frenzy, as the bear finally sheds her earthly skin and breaks free.
For me, the highlight of the album is Sawdust & Diamonds. Without the orchestra, Newsom and her fingers shine. After the gloriously off-kilter chiming opening, the (fiendishly difficult) harp part ripples persistently under the evocative lyrics. Only Skin is lush and highly chromatic – and probably a pedalling nightmare to play. It’s also the most meandering track on the album, lacking in firm structure and direction. Newsom herself has commented that the song grew organically, composed from many ideas and whittled into a final form. Although there are many beautiful moments, the lack of focus definitely shows. Closing track Cosmia is wistful and sweet, despite the somewhat light-hearted and cinematic orchestration.
As a performer, Newsom may not have the sweeping scope of a top-ranking classical harpist, but she is an accurate and sensitive technician. Steering clear of flabby clichés such as big glissandi and John Thomas-style arpeggios, she favours the repetitive, syncopated rhythms and taut triplet patterns that characterised her first album. In Ys these are developed further, culminating in the persistent bubble of Sawdust and Diamonds. But even as a fellow harpist, I love Newsom’s work for her lyrics above all else. As always, her works are pure poetry, bursting with alliteration and subtle rhymes. They may steer close to whimsy, but never quite go as far as being twee.
Overall, Ys leaves me with the impression that Newsom has matured into her music. The songs are gentler, richer – the poetry extravagant and bold. If you’re not familiar with Newsom’s brand of warped folk, or prefer your tunes packaged into neat three-minute chunks, then Ys may not be for you. But anyone with a vivid imagination and a love of beautiful music should check it out.
Joanna Newsom and the LSO @ The Barbican, 19th January 2007
Newsom’s performance at the Queen Elizabeth Hall in 2005 remains one of my personal gig highlights, so I could hardly wait for her appearance at the Barbican. Billed as a full performance of new album Ys, along with the London Symphony Orchestra, I snapped up tickets as soon as I heard about the concert. It was a minor miracle that managed not to lose the damn things over the intervening three months…
The Barbican hall was packed to bursting with a wide range of fans. Pixie-like girls in floaty, layered dresses and greying, ponytailed folkies mixed with city types and nerds. Full credit is due to opening act Alasdair Roberts, Newsom’s label-mate on Drag City. It is no mean feat to walk into a crowded, three-tiered hall equipped only with an acoustic guitar. Roberts’ morbid set of folk songs set a tone of dark melancholy, mixed with whimsy and the odd drinking song.
Newsom took to the stage with the LSO, joined by percussionist Neal Morgan and things-with-strings player Ryan Francesconi, to
perform Ys. The concert was fairly straightforward, with little apparent variation from the album. At times, it seemed like a struggle to maintain the timing between the harpist and her orchestra, but generally this was a joyous rendition that fitted well in the environment of the concert hall.
Morgan’s voice blended beautifully to provide backing vocals. Occasionally the harp was too quiet, although I was more impressed with the sound balance than I have been at previous Barbican gigs.
As with the album version, the live rendition of "Sawdust & Diamonds" was incredible. Newsom’s hands flew like birds on the strings – all the more
impressive as she manages to sing over the top. The only slightly low point of the proceedings was Only Skin – the live performance serves to highlight the meandering lack of structure in the song.
After a short break, and a self-confessed ‘Cristina Aguilera’-style costume change, Newsom returned to the stage and played a few old favourites from
the Milk-Eyed Mender. "The Book Of Right On" was both menacing and lilting, with a fantastic cross-rhythmic solo. Either by design or by dint of dodgy pedalling, the harmonies of "Bridges and Balloons" were shifted by a subtle yet uplifting degree. Newsom reminded us of her folk roots by playing an old Scottish song, "Ca’ the Yowes to the Knowes", with consummate skill and obvious pleasure.
Re-joined by Morgan and Francesconi, the trio played a new song, pulsing with celtic joy and the odd yelp from Newsom. It’s clear that Joanna’s songwriting is increasing in complexity, becoming harmonically and rhythmically challenging. A gentle rendition of "Clam, Crab Cockle, Cowrie" ended the night, and the band left to thunderous applause. Coming back alone for one final (and apparently hotly-debated) song, a sweet performance of "Sadie" rounded off a magical evening in the presence of a rare musical talent.
Not only has this concert inspired me to go and practice more, it has also given me an eager anticipation for Newsom’s next direction.
Kat Arney
Alasdair Roberts’ new album "Amber Gatherers" is released on the 22nd January on Drag City.
Ys by Joanna Newsom is out now on Drag City.
Joanna Newsom – The Sprout and The Bean video
September 22nd, 2009 at 10:41 am
[...] Joanna Newsom’s second album Ys for the Big Chill website. Here’s a flavour of it, but you’ll have to go to Big Chill site to read the rest. “When I first received my copy of Joanna Newsom’s second album, Ys, I was slightly [...]