Pieta Brown – Dreamin’ Of
This Iowa-born indie artist has an acute sense of distinctive storytelling in her songs. Pieta’s material is expressive. She explores loss, love, addiction, & war with little restraint. Setting the colorful descriptions aside & focusing more on the work as art Pieta does have an artistic prowess & has been prolific since 2002. So, let’s get the scalpel out…without getting too serious.
This new effort was produced by S. Carey (drums/percussion/piano/Wurlitzer/synth/harmony), Mike Lewis (bass/sax/organ/synth/harmony) & Ms. Brown (vocals/piano/acoustic & electric guitars). It was laid down in studios in Wisconsin, Minnesota & Iowa & the 11 enticing tunes for Dreamin’ Of (Dropped Aug. 21/Righteous Babe Records) include strings recorded in France by arranger Bertrand Belin.
There’s an ethereal quality to the songs. Perhaps the only criticism is overuse or dependence on vocal treatments/echo. My objection isn’t in its occasional use but overuse. Pieta, from what I hear, has a pure compelling tone in her voice, but the electronics can render some of it cold. Warmth is lacking with the effects though the ambience helps gives spaciousness — it’s also a distraction.
“Was the One” has a disciplined melody, interesting lyrics & a good arrangement – but the voice is being treated & transformed. The drums are tinny while the acoustic guitar has a nice sound to it. The guitar on “Laura” has immediacy but it’s loaded down with sounds that add little.
The title track arrives with more ambient twiddling. Pieta’s voice is captured better & though she doesn’t project a powerful voice, it’s an exhilarating tone. The treated drums sound fake while backup singers add coherent support. The song itself is good. Pieta isn’t the only artist who seems to depend on this path. I’m not sure if it’s because of a lack of confidence in the purity of voice or, like others, they just like the effects. To me, it can be a little sterilized.
“So This May I,” has a radiating vocal by Ms. Brown. She’s still surrounded by electronics, meandering distortion, & slickness that peels at the song’s message. There’s a good message in Peita’s voice & the backup singers. The infusing guitar stabs help to create an interesting song.
“Nothin’ But Trouble” uses studio additives (gimmickry) wisely. The song’s rendered with a more natural feel. The same can be said for the superior “Love Letters.” Sung in a Rickie Lee Jones jazzy motif. Pieta’s voice is excellent, if not compelling. These are well-written lucid pieces & imaginative. The final cut “Glitter Town” has vocal treatments, a good melody, a jazzy element, a fine lyrical narrative, crisp drums & suits Pieta’s voice well.
Highlights – “Was the One,” “Dreamin’ Of,” “So This May I,” “Nothin’ But Trouble,” “Laura,” “Someday, Someday,” “Love Letters” & “Glitter Town.”
Musicians – Amos Lee (guitar), Brett Bullion (ambience), Romain Collin (piano), Barbara Jean Meyers (banjo/harmony), Bryan Vanderpool (percussion/guitars/harmony) & Bo Ramsey (electric guitar).
B&W image courtesy of Pieta’s website. CD @ Bandcamp & https://pietabrown.com/