The Irish singer-songwriter comes back after two years with her second album “The Two Worlds” and apparently does not seem to have changed much from the debut album. As the previous one is played and recorded by Brigid Mae Power together with her husband Peter Broderick, who also plays the role of producer. The album plays in the folk singer-songwriter field, characterized by an intimate and poetic lyricism and a minimal musical structure on which Power’s singing, archaic and modern at the same time, is grafted onto.
But there is an event related to the personal sphere that represents a break between the two recordings.
A few months ago, Power decided to publicly explain the abuses suffered during a relationship in the United States. An episode like this inevitably deeply influences the new record but it translates into greater maturity and awareness of the author. The first indication in this sense shows in the first two pieces, built on the contrast between saving love and harassing love.
The sweet “I’m Grateful” built in an essential way on a few guitar notes, a scattered beat of percussion and a discreet organ in the background, seems to speak precisely about how the subsequent relationship with Broderick was decisive in the path to overcome the experienced trauma. The first words, “I am grateful for the things you did, for the victories we have achieved” seem to leave little doubt about this and Power’s interpretation, strengthened by the choirs of her husband, is able to transmit this feeling in a sincere and engaging way.
On the contrary, the second song “Do Not Shut Me Up (Politely)” represents the musical extension of the public outburst on that terrible life experience. From the words “You tried to convince me that I was someone, someone who certainly is not” emerges a strong reaffirmation of her personal identity that had been almost suffocated. The tense atmosphere reflects the Power’s mood through an incessant bass pulsation, harsh percussion and a strident guitar. Singer’s interpretation goes from lower tones that express indignation until it reaches the highest notes in a liberating way with a disruptive force.
These two songs draw the structure of the album especially on a thematic level.
The two worlds of the title then become, from time to time, Power and Broderick and the relationship of the couple, the past represented by the United States and the new old house, Ireland, the local world and the global title track.
Musically the serene and rarefied atmospheres of the first track the prevail, almost representing the quiet after the storm of the outburst.
The protagonist of the album is without any doubt the author’s voice. Power demonstrates its ability to transcend its roots as folk singers to build a strong identity of its own. When compared to the almost angelic beauty of the classic voices of English folk, it demonstrates a personal and oblique approach to melody. The singer works with a lot on the nuances and often uses the sudden ups and downs of notes that may appear as improprieties to an untrained ear but instead show a masterful voice control and are an integral part of the singer’s charm.
Broderick’s production plays a perfectly functional role, painting a measured and scattered musical background, tailor-made to allow the voice to communicate its full strength.
Guitar, piano and a few other elements from time to time accompany and reinforce the melodies of power or build the hypnotic and repetitive structure from which emerges the singing. The warm and dense reverb recording fully expresses the serene, intimate and above all familiar atmosphere that the songs emanate.
The result is a precious record that conquers slowly and that does not lend itself to compulsive listening but should be savored in the most quiet and perhaps most precious moments of our days. (Rating: 8)
By Mason
Originally published in italian on April 25 2018
Republished in english on May 01 2019
