REVIEW: Rachael Sage, Smashing the Serene (MPress Records)
- Jon Steltenpohl
Bob the Editor, who knows my love for Ani DiFranco, says, "Trust me on this disc, you'll see why." So, I wait for the packet on Rachael Sage. When it arrives, the bio is heavy, at well over 20 pages, and the rhetoric contained in it is just as thick. The references to being "discovered" by and touring with Ani DiFranco are sprinkled so liberally as to be the major theme, and the emphasis that Sage is doing this without a major label is heavy. The part about her being a woman pop artist is kind of in the background. In reality, Rachael Sage needs only to convince you to put Smashing the Serene in the player so that you might enjoy the beautiful music inside.
"Sistersong" launches the album with a peppy acoustic guitar and Sage's sweet, whispered voice. By the end, you have Sage's simple piano complementing the band's lone violin, sparse percussion and fretless bass, and it matures into a nice little song. There's no real burning stress, no brilliant points to make. In fact, there's really nothing much there other than a simple song about being a sister. Which is, quite frankly, refreshing for a change. Here's an artist whose angle is to be nice and positive.
Not everything is rosy in Rachael Sage's world, but the final assessment is never that everything is doomed or broken. Take "Alive Before You." Sure, it's a song about breaking up. "I'm cold since you have left me," sings Sage, but by the end of the song, she is building herself back up again. No ball busting, no ethical statements, no childhood traumas. Just simple songs about friendships and relationships with a little hope thrown in for good measure.
The piano is Sage's instrument of choice, and, it leads to a quick comparison to Tori Amos. The hints of classical music influence and Sage's impassioned vocals add to the similarity. The songs have a plucky beat, and she uses her voice in arpeggio trails. But, unlike Amos, Sage doesn't seem hell bent on being the singer/songwriter version of Led Zeppelin. The rebellion and redemption of Amos don't figure into the equation that makes Smashing the Serene so compelling. "Bruises Without Blue" and "Conversation" are probably the closest to emulating some of Amos' sneer. Instead of aiming at and dwelling on defiant condemnation, Sage uses the songs to triumph over her problems and move beyond. By the end, she is boldly charging into the new dawn with jaw set and shoulder forward. On "Conversation," Sage sings, "I'm as high as any mountain / But so weak when you attack / and I'd love to know your anger / If it'd keep you coming back." It's a tone much different from Amos' bold and unrelenting pen, and it is an alternative of refreshing honesty.
At other times, Sage is a bit like Dar Williams. Vocally, she shares Williams' slight childlike quality to her voice. The earnestness bursts impetuously from the corners and, like William's, sometimes get the best of her. But, where Williams succeeds by her honest lyrics and intimate sound, Sage excels with flowing melodies and musical pageantry. Other similarities are shared with Kate Bush, Natalie Merchant, and even newcomer Natalie Imbruglia. The standout song of the album, "Crack of Dawn," seems to share a little with every impressive female vocalist since Carole King.
"Uplifting" can be a damaging descriptor when used in conjunction with names like Yanni or Tesh, but Sage manages to genuinely impress hope through her songs without any traces of a pretentious nature. The music on Smashing the Serene can be as lyrical and moving as purely instrumental works. Sage and her band have created arrangements that dip and dart in and out of each other. They rise and swell with purpose, and you're more likely to find yourself moving to the melody than singing along with the lyrics. On "My Eliza," the interplay of piano, violin, and melodica is simply incredible.
It's a crowded place for incredible singer/songwriters these days, and "female singer who plays piano" is already a cliche. Fortunately, Rachael Sage doesn't come across as a wannabe or a straggler. At worst, she might be called a student of those who came before. Smashing the Serene may be an independent release by design, but it certainly doesn't suffer in any regard because of it. It is every bit as complex and moving as anything Tori Amos has released, and there are many major label releases which don't even come close. If you enjoy immersing yourself in passionate albums, Rachael Sage's Smashing the Serene is exactly what you need.
For more information on Rachael, visit http://www.humbucker.com/rachael/smashing.html
