The tag of Juno nominated artist let alone winning one in the Roots and Traditional
category is a staple symbol for guaranteed high quality and Canadian band Good
Lovelies securely match up to this broad statement. The industry success may have
been half a decade ago, but, whether in the studio or perhaps their spiritual
home on the road, the trio of Kerri Ough, Caroline Brooks and Sue Passmore never
to fail to deliver in sublime proportion. The title of their new album BURN THE
PLAN suggests a somewhat maverick approach to making music, but the delightful product
on offer confirms the ladies are right on the mark with a record firmly in the
exceptional camp.
The four year wait between studio albums has hardly been a
void for the band with countless tours, shows and an enterprising live record to keep fans happy. Maybe it was time to freshen up the songbook and the band have taken a further
stride forward by digging a little deeper into their artistry to propel a
revolving sound branching out from a solid core. The folk and roots centrepiece
of the band will always steadfastly remain and while there is certainly a mini
stroll in an electro pop direction alongside a faint hint of alt-country, the
spine of the record is a combination of beautiful harmonies and genuine
instrumentation.
This moving escalator of musical evolution continues to
house the pristine vocal interchange that sees each group member seamlessly
rotate the lead and throw a song writing inspiration into the bubbling cauldron
of a Good Lovelies album recording project. The finished article is a magnum of
glorious collaboration finely seasoned with minimal detection of the individual
coming to the fore. The warmth radiating from any Good Lovelies record is a glowing sensation and BURN THE PLAN has the thermostat at its optimum setting.
Song wise, the album surprises straight from the opening bars
of ‘In the Morning’ with a bout of
an unexpected electro beat before the luxurious vocals kick in to reassure that
you are still in Good Lovelies territory. ‘Waiting
for You’ and to a lesser extent ‘Broken
Hearted’ are almost soft rock like in their structure and melody with a tip
to some aspects of alt-country. The capable hands of producer Les Cooper has
stretched the talents of each band member and hired session musician involved, to mould an album mildly eclectic in its studio format, yet formed by a string
of songs capable of excelling in the minimalistic format of a Good Lovelies live
show. Ultimately the album settles into lo-fi mode ably led by the delicious lullaby
tendencies of ‘Last Night’, the
mesmeric steel-infested vibes of ‘Slow
Road’ and the memorable atmospheric elegance of the stand out track ‘When the City Settles Down’.
Talking about the subtle insertion of some delectable twang,
it was little surprise to see the lap steel maestro Christine Bougie involved
as she is fast becoming a ‘go to’ player in Canadian and, increasingly
Nashville circles via her continued association with Gretchen Peters. A familiar
roots feel seeps out of the impressive track ‘Old Fashioned Love’ beautifully sung by Sue, while Kerri audibly
moves you when tackling the intense sentiment wrapped within ‘Four O’ Clock’ . Not to leave Caroline
out of the vocal recognition stakes, ‘Don’t
Hold Back’ oozes with class and is a symbolic Good Lovelies trademark
sound. Hasten to add the Good Lovelies is not a focal point band and is about
as egalitarian as you get in its constitution. All thirteen tracks including
the touch of brass to decorate ‘Into the
Dark’ which incidentally contains the line lifted for the album title,
play a significant part in making the record a worthy listen.