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Six years after the success of Heather Lynne Horton's second album DON'T MESS WITH MRS MURPHY, there was a pleasant surprise to learn of its successor in the can and ready to go. Although the gap between releases is a little lengthy to induce comparison and evolution, there was sufficient credit in the affection bank to dip into what is being offered in the curiously titled GET ME TO A NUNNERY.
Horton's ownership of this project is stamped all over the process with the ten tracks being solo writes alongside the main production role. Husband Michael McDermott's assistance is noted on the credits and his wealth of experience has no doubted enhanced the instrumental and co-production input. Gender is at the heart of the theme and the inside cover includes a tribute to Sinead O'Connor who passed away poignantly at the point of the album conclusion. Nine tracks drift through the song content with a marked contrast between the first two high octane numbers that offer an initial boost before the mood tempers to reveal a refined body to the record. Just when grasping the album is sensed, we are dealt a near eight minute instrumental 'Lin's Never Ending Song' featuring the heavily framed classical vibes of Horton's skills on assorted strings. This leaves a conclusive feel that creative whims are very much as play.
Of the two opening tracks, preference is leant towards the broadened sound and escalating chorus of 'I Don't Like Your Children' rather than the explosive symphonic chimes to opener 'After All This Time', which picks up after a slowish start. The uplifted opening slips into a more nuanced sound that permeates the road towards the instrumental closer.
We are right on theme with the opening two lines of third track 'Ten Times': 'ten times is hard for a woman/ten times as hard for a girl'. A floating presence allows space for contemplation. This leads into the more hard hitting 'Call a Spade a Spade' where a strong lyrical opening leads us slightly into a chilling territory. The settled aural vibes continue to form the agenda as 'Beatrix' hails the album midpoint with a strong pull to take note of the lyrics.
The next quartet follow a set pattern with the pick being the album's penultimate track 'Take Off' where the format envisages a letter of failed love strong in metaphor and cutting in anger and resentment. The first of this foursome 'Sunset Marigold' is blessed with a faint celestial soothing sound dressing a complex inner. 'Six Foot' and 'You Said So' have contrasting lyrical structures with a lure in the sound to seek greater meaning and understanding.
GET ME TO THE NUNNERY possess an ornamental and stylish polish whilst pursuing an individual take burning from within. You sense the rulebook has been cast aside while striving to cut a strong sensitive niche. Heather Lynne Horton has the artistic cylinders fully turned on. The album will thrive given the required moment and space. Six years is a sort of intermediary gap between releases and from a creative perspective it has been time well spent to conjure up the charm emanating from a record of substance.
