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[alternative folk] (2019) Sarah Mary Chadwick - The Queen Who Stole the Sky [FLAC,Tracks] [DarkAngie]

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(2019) Sarah Mary Chadwick - The Queen Who Stole the Sky


Review:
Sarah Mary Chadwick
To play a grand organ is to be engulfed – by
sound, by engineering, by sheer might. The grand romantic organ installed at the Melbourne Town Hall, the largest in the
southern hemisphere, features nearly 10,000 pipes and 552 keys. Its scale is staggering, and hearkens to a time when
music was less a precious commodity and more a fact of life, when hearing air forced through pipes was simply an
effective way to feel closer to God, rather than art. Sitting before one of the instruments, an organist casts a
disarmingly lonely image – consumed by the scale of it all, subsumed by the grandeur. That was certainly the image
cast by Melbourne-via-New Zealand musician when, shrouded in pink and blue light, she performed The Queen Who Stole the
Sky,an original 11-song composition written specifically for the Town Hall’s grand organ. Chadwick, who usually
performs with a guitar or hunched over a keyboard, and whose brackish voice tends to draw attention away from her
arrangements, rarely seems diminutive in performance or on record; beneath the weight of the organ, she is an ant. The
scale turns out to be fitting. Because The Queen Who Stole The Sky uses the terrifying might of the ancient instrument
as a counterpoint for a series of stunning meditations on sheer normalcy, and the beige-tinted terror of everyday life.
In early highlight Hurtle Through It, she intones that “You forget that we’re all hurtling through it”. Life is
hard, she seems to say, but life is hard for everyone. At last year’s Town Hall performance, Chadwick introduced the
album as a set of songs “for anyone who wanted more than what life had to offer them” – and that description is
fitting. Chadwick is fond of grand turns of phrase – her last record carried the beautifully melodramatic title Sugar
Still Melts In The Rain – but on The Queen Who Stole The Sky, those kinds of poetic, sweeping lyrics are tempered with
crushing mundanity. Opener Confetti finds Chadwick listing similes for her being – she is like the smudge on a page
after you rub out a pencil drawing, like confetti but not as bright, like the dark but not at night – that are
uncannily, upsettingly flat. At the same time, the organ soars and expands. It threatens to consume Chadwick’s voice,
which is already straining to something of a yell. Many of the songs on this release make you feel terrifyingly inert;
the drone of the organ has an almost paralysing effect, and Chadwick’s lyrics, more often than not, convey a sense of
searching for something that perhaps isn’t really there. As a result, The Queen Who Stole The Sky is Chadwick’s most
plangent, resonant work. While all her past records have been result of the strength of her intent and talent, there’s
something shocking about the austere composition of this album that feels as if it’s coagulated Chadwick’s vision
into a ferocious, arresting whole. The Queen Who Stole The Sky is rarely an easy listen – it is terrifyingly loud and
heartbreakingly vulnerable, often grotesque in its sadness – but the sense of pure catharsis it elicits is
unparalleled. Personal suffering is often privileged in art. Throughout this record Chadwick challenges this by
outlining suffering and then minimising or rationalising it. On the song Next In Line, she spins fairy tale fantasies
about romance before shattering them. “I never had a man around to love me,” she sings over the organ’s drone,
before adding, almost like a hastily added post-script, “Having said that, there’s no amount of love could fill me,
so I keep working through the line.” It’s romance imagined as construction line, one of life’s great mysteries
skewed, dismembered and vacuum-sealed. Towards the end of the album, on the record’s title track, Chadwick makes peace
with life’s dull edges. “Sometimes there will be tears, I’ll have good years and bad years,” she concedes,
“I’ll have friends and have no friends, love will start and love will end.” It’s something of a Pyrrhic victory
– after an album of trying to rationalise mundane struggle and find something beyond it, we’re told there’s little
to be found. Considering the product of that victory, though, it’d be hard to ask for more.





Tracklist:
01 - Confetti
02 - Kesey
Peasy
03 - Hurtle Through It
04 - Anniversary
05 - I Just Came to Pray
06 - On the Make
07 -
Next in Line
08 - Make Plans
09 - The Queen Who Stole the Sky
10 - Pretend Lover
11 - Something So
Sweet


Summary:
Country: New Zealand 
Genre: alternative
folk


Media Report:
Source: CD
Format: FLAC
Format/Info: Free Lossless Audio Codec, 16-bit PCM
Bit rate mode: Variable
Bit rate: ~ 816-887 Kbps
Channel(s): 2 channels
Sampling rate: 44.1 KHz
Bit depth: 16 bits

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