Listening to
Dark Undercoat, it's difficult to believe that
Emily Jane White once fronted various college punk and metal bands. The frenetic energy that fuels both those genres is totally at odds with the incredibly languorous feel of this set, as
White whiles away her time moodily musing, mostly accompanied only by her acoustic guitar or piano.
Dark Undercoat, her debut, is awash in dark undercurrents, and tinged with a deeply affecting melancholy, somewhat reminiscent of
Nick Drake, which
Wainwright Hewlett's superb engineering and production enhances. The sound is underlit with a glowing warmth, the quiet atmospheres subtly acquiring surprising depths, while a sublime intimacy is spun around the entire set.
White's dusky, lilting alto conjures up its own spell, as do the simple but artful arrangements. Guitar strumming songs like "Dagger" and "Time on Your Side" illustrate the artist's deep connections to the folk scene, but others have a western bend, foremost among them "Sleeping Dead." In contrast, the magnificent "Bessie Smith" and "Hole in the Middle" sing the blues. "Bessie Smith" and the title track make inspired use of cello, fabulous work from multi-instrumentalist Muir. Bass and drums intensify a number of songs, while
White's concert piano skills are highlighted on a pair of tracks, with her supple guitar showcased across the entire set. The music is mesmerizing throughout, moody palettes over which the singer paints pictures of love and loss, and the detritus of dashed hopes and dreams: "a trail of ashes" left behind by soured romances. Like the Marlboro Man,
White's men are strong and silent types, many "Wild Tigers" only half-tamed, a few straw men whose strong facades hide their own insecurities. The themes are universal, while her lyrics resonate strongly, abetted by a sprinkling of Biblical references. All told, an inspired album whose atmospheres smolder on long after the music ends.