Laura Pursell (http://www.somewhereinthisroom.com) has released an album that has the studio glow and airtight professionalism of a classic major-label release. The term "classic" is used mainly to separate this masterwork from today's contemporary corporate sludge.
Producer Andrew Bonime has filled this stunning album with real instruments and some of the finest musicians you've heard backing up a female vocalist in ages. Norah Jones comparisons will probably be brought up; however, in the larger context of the album, they won't fit. I wouldn't classify Pursell as a jazz vocalist even though she does dabble in jazz here, mainly on "When You Come Down" and "When You Smile." Instead, Pursell flashes back to the sensitive female artists of the '70s like Carole King and Karen Carpenter.
However, don't expect any dated arrangements; despite the '70s influences on Pursell's voice (which is a great thing, I have to clarify), the music here is often cinematic and timeless. The instrumental "Overture" that introduces the record is gloriously over-the-top, an epic swirl of an army of violins and dramatic piano; if it hasn't been used in a movie yet, it should be. "When You Come Down" and "Skywriting Neon Lights" shine on with pastoral acoustic riffs while "It Might As Well Be Magic" is more rocking, picking up the CD's overall slower tempo with some crunchy guitars. On "I'll Wait" and the jangly "Maple Tree," Pursell has a momentary brush with country while flexing her folk inspirations as well.
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If all this genre experimentation sounds confusing, it isn't; Pursell and Bonime are simply giving each tune its own distinct flavor. Thankfully, it all tastes good, recalling the days when listening to a whole LP was an experience, not a chore.
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