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The Saga of Mayflower May is Marissa Nadler's second album, released but a year after her excellent debut Ballads of Living and Dying, which was full of modern folk ballads with a dark edge. On this album, she continues in that line, developing her style and voice at the same time. The voice, that is what most listeners will react to immediately. Marissa has a natural, high voice, and she's not afraid to show its true colours. She gives it free rein, letting a bit of her - non-stereotypical - American accent shine through, and at times she obscures the lyrics in a burst of warbling melody, which gives the songs all the more character.
Marissa accompanies herself on guitar on each song, which makes this an album of mid-tempo, mostly fingerpicked tracks. She's therefore a singer/songwriter in the modern sense, but at the same time, the music has something more timeless. These songs are often narrative, often about love, and sometimes the love proves lethal. It's safe to say that Marissa always slips in a couple of true murder ballads, and this album is no exception. Both "Mr. John Lee" and "Lily, Henry, and the Willow Trees" show some of love's darker consequences. Colour is a lyrical theme that is also dominant on this album, as exemplified in the "turqoise eyes" and "azure skies" of the opening track, and many elements in the beautiful "Yellow Lights", one of the best tracks on the album.
That said, the album as a whole is very strong, and it contains no weak tracks at all. Particular favourites besides those already mentioned are "Old Love Haunts Me in the Morning" - which shows the ghostly gothic touch of Marissa's music, which was more prevalent on the first album - and the serene "My Little Lark" with its layered vocals. Nice touches are added here and there, such as Marissa's own manipulated background vocals, tin whistle and piano by Nick Castro, and organ by Brian McTear.
In short, a great album by one of today's rising stars of modern folk. Marissa Nadler is a true female bard that devotes a lot of time, and especially feeling, to crafting fine, original ballads, often with a wry lyrical touch. Very much recommended!
O.S.
Marissa accompanies herself on guitar on each song, which makes this an album of mid-tempo, mostly fingerpicked tracks. She's therefore a singer/songwriter in the modern sense, but at the same time, the music has something more timeless. These songs are often narrative, often about love, and sometimes the love proves lethal. It's safe to say that Marissa always slips in a couple of true murder ballads, and this album is no exception. Both "Mr. John Lee" and "Lily, Henry, and the Willow Trees" show some of love's darker consequences. Colour is a lyrical theme that is also dominant on this album, as exemplified in the "turqoise eyes" and "azure skies" of the opening track, and many elements in the beautiful "Yellow Lights", one of the best tracks on the album.
That said, the album as a whole is very strong, and it contains no weak tracks at all. Particular favourites besides those already mentioned are "Old Love Haunts Me in the Morning" - which shows the ghostly gothic touch of Marissa's music, which was more prevalent on the first album - and the serene "My Little Lark" with its layered vocals. Nice touches are added here and there, such as Marissa's own manipulated background vocals, tin whistle and piano by Nick Castro, and organ by Brian McTear.
In short, a great album by one of today's rising stars of modern folk. Marissa Nadler is a true female bard that devotes a lot of time, and especially feeling, to crafting fine, original ballads, often with a wry lyrical touch. Very much recommended!
O.S.