Artist: Natalie Merchant
Album: Natalie Merchant
Genre: Soft Rock, Folk Rock, Singer-Songwriter
Release Date: 2014
Audio Format:: FLAC (tracks) 24 bit, 88,2 kHz
Duration: 49:10
Total Tracks: 11
Total Size: 936 MB

Tracklist:

01. Natalie Merchant – Ladybird (06:39)
02. Natalie Merchant – Maggie Said (04:28)
03. Natalie Merchant – Texas (05:05)
04. Natalie Merchant – Go Down Moses (05:03)
05. Natalie Merchant – Seven Deadly Sins (04:53)
06. Natalie Merchant – Giving Up Everything (04:23)
07. Natalie Merchant – Black Sheep (04:10)
08. Natalie Merchant – It’s A-Coming (03:51)
09. Natalie Merchant – Lulu (Introduction) (01:03)
10. Natalie Merchant – Lulu (04:18)
11. Natalie Merchant – The End (05:11)

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Natalie Merchant’s new self-titled is the multi-platinum singer’s sixth solo collection, and her first of entirely original songs in 13 years. This self-produced album is the work of a mature artist with a clear and distinctive voice. Long appreciated for the depth and substance of her writing, Merchant has never shied away from weighty themes or subjects for her lyrics. She describes the new release as informed “by experience and keen observation,” dealing with issues of “love gained and lost, regret, denial, surrender, greed, destructiveness, defeat, and occasional triumph”.

Combining three decades of experience in song writing and album making, Merchant’s production style is nuanced and pure. Her voice is framed by a balanced blend of electric and acoustic sound throughout with musicianship of exceptional quality. String, brass, and woodwind arrangements mingle with Hammond organ and electric guitar improvisations. Players include John Medeski, Shawn Pelton, Clark Gayton, Uri Sharlin, Jesse Murphy, Erik Della Penna, Gabriel Gordon, and guest vocalists Simi Stone, Elizabeth Mitchell, and gospel singer Corliss Stafford.Natalie Merchant is marketed as the successor to 2001’s Motherland, suggesting it’s Merchant’s first album since, but that isn’t strictly true. She independently released a collection of folk covers called The House Carpenter’s Daughter in 2003 and, most notably, the ambitious double-disc neo-children’s album Leave Your Sleep in 2010 — distinctive work both but she hasn’t dedicated herself fully to original material in 13 years, so Natalie Merchant is indeed noteworthy. Feeling neither pent-up nor fussy, the eponymous album is handsome, deliberate, and familiar; she’s not picking up where she left off, she’s merely resuming her career, not acting like any time or fashion has passed in her absence. Which isn’t to say Merchant operates as if it’s still her ’90s heyday. She obliquely references Hurricane Katrina with “Go Down, Moses,” but the strongest evidence that Merchant knows perfectly well it’s 2014 is how she embraces her middle age. Even at the start of her career, Merchant aspired to sound wise and old and now that she’s reached 50, she’s exceedingly comfortable in her skin, never rushing her tempos, luxuriating in lush orchestral arrangements that are rarely Baroque and often find a nice contrast with softer, folkier moments, choosing to be melodic while studiously avoiding direct hooks. Natalie Merchant is not a progression so much as a deepening and, as such, it offers a quiet comfort for anyone who has ever loved her music.