Sandwiched between her previous album in 2010 and this latest
release, Heather Lynne Horton was musically busy creating a wave as one-half of
The Westies with husband Michael McDermott. Hot on the heels of Michael
branching out with a solo record, Heather has also chosen this route with the
highly emotive DON’T MESS WITH MRS. MURPHY. On the back of its US bow earlier in
the summer, the record will get a resurgent boost in the UK via the good folks
at At The Helm Records. The bottom line is that the album is an absolute
absorbing listen, presenting an aural delight from its atmospheric opening to a
moving finale.
Like so many successful records, the sound blends numerous
sources to a superlative extent. Americana fans with an alternative edge are amongst
the audience likely to tap into the vast reservoir of an album packed with top
notch writing to provide the literary element. However, no serious music fan is
precluded, whether they are prone to tearing away the layers of a record or are
able to free themselves to let the music lead the way.
Themes and motives are aplenty with this album. Taking a few
moments to read Heather’s thoughts on the record or burying yourself in the
lyrics, will fast track the complete experience, but not critical to appreciate
the sum of the overall effect. This surmounts to an evocative piece of art, often
mystique, frequently dark and forever enchanting.
When you factor in a surprise cover as the eleventh track,
the album weighs in at just short of the hour, but this extended feature never
strays into filler territory. In fact, many listens to this album have lent
towards tracks 3, 5, 8 and 10 being personal favourites, all aided by letting
the record flow as opposed to cherry picking. The latter of these choices ‘I Wanna Die in My Sleep’ cracks the
heart with each play. It rolls out as a majestic 7-minute narrative piece
perfectly melding the spoken and sung word, all in a beautiful nostalgic haze.
Think Shangri Las meets the ‘Trio’ as your starting point.
Earlier in the record, the album really cranks up the gears
with the third track ‘Did You Feel That’,
a classy piece of ethereal choral delight ripe for radio play. This follows a
couple of tracks that begin to form the record’s presence right from the off.
Enchanting mesmeric opener ‘Murphy’s Law’
puts a capital ‘A’ in alternative, while ‘Wheelchair
Man’ is a tenderer offering presenting an inspirational view from a different perspective.
The two other standout candidates previously indicated
include ‘Boomerang’- a mid-album
track that goes a long way to capturing the wealth of Heather’s distinct vocal
style – and ‘Coffee Cup’, which
evolves into one of the record's most serene melodic moments. The latter is
another in the 6-minute plus category, thus cementing a thought of this being
an unhurried release.
It’s a testimony to the strength of the album’s upper
echelons that tracks like ‘Pauper Sky’
and ‘Flesh and Blood’ still linger in
the shadows as time approached to gather some thoughts to share. The somewhat
potentially controversial ‘FU’ does
make a lyrical case to push the stronger tracks, while the warm velvet protective
sentiments of ‘Save the Rain’
provides a reassuring moment as the album wheels into full flow.
The bonus track sees Heather team up with Michael for a
cover of ‘You’re the One That I Want’. The perfect example of how to enhance a
song by pouring everything into the verses, while tempering the chorus. A
fitting way to end a superb album.
Essentially DON’T MESS WITH MRS MURPHY is album to be
savoured alone. Its primed for a period of solitary solace and ensures the
listener succumbs to a fascinating world. Heather Lynne Horton is the architect
of an album that raises the standard of this year’s releases.
