12 Songs, 52 Minutes

EDITORS’ NOTES

Singer/songwriter Kathleen Edwards moves beyond roots-rock on her fourth release. Lush production and a full, robust sound give Voyageur a different scope and feel than her previous work, with her usual stripped-down arrangements replaced by layers of organ, tremolo guitars, and thick vocal harmonies. Her songwriting is equally ambitious. There’s palpable weariness in these songs but also a desire for catharsis. The delicate “A Soft Place to Land” and “House Full of Empty Rooms” deal directly with heartbreak, while the music's urgency in “Chameleon/Comedian” and “Going to Hell” contrast the vulnerable vocals. The forlorn “Pink Champagne” features hazy ambient noise, the orchestral “Change the Sheets” builds to a full-blown chorus, and “Sidecar” and “Mint” come closest to the guitar-based Americana she’s best known for. Coproduced by Bon Iver's Justin Vernon, Voyageur does carry some trademarks of his sound (namely the sonic density), yet it’s clearly Edwards’ show.

EDITORS’ NOTES

Singer/songwriter Kathleen Edwards moves beyond roots-rock on her fourth release. Lush production and a full, robust sound give Voyageur a different scope and feel than her previous work, with her usual stripped-down arrangements replaced by layers of organ, tremolo guitars, and thick vocal harmonies. Her songwriting is equally ambitious. There’s palpable weariness in these songs but also a desire for catharsis. The delicate “A Soft Place to Land” and “House Full of Empty Rooms” deal directly with heartbreak, while the music's urgency in “Chameleon/Comedian” and “Going to Hell” contrast the vulnerable vocals. The forlorn “Pink Champagne” features hazy ambient noise, the orchestral “Change the Sheets” builds to a full-blown chorus, and “Sidecar” and “Mint” come closest to the guitar-based Americana she’s best known for. Coproduced by Bon Iver's Justin Vernon, Voyageur does carry some trademarks of his sound (namely the sonic density), yet it’s clearly Edwards’ show.

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