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Hell-On
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Hell-On
Current price: $14.99
Barnes and Noble
Hell-On
Current price: $14.99
Size: CD
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Neko Case
is an artist incapable of sounding like anyone other than
. She's certainly not adverse to collaborating with artists she respects; she's been a long-time participant in
the New Pornographers
, and has contributed her estimable vocal talents to albums by
Calexico
,
John Doe
Kelly Hogan
, and
Giant Sand
, among others. But on 2016's
case/lang/veirs
, an album she recorded in tandem with
k.d. lang
and
Laura Veirs
Case
found herself working as an equal with two creative peers for the first time, and while her work on the album was strong, it was an example of the whole not being all you'd expect from the sum of the parts. It's impossible to say if the experience informed
as she recorded 2018's
Hell-On
(and since
lang
Veirs
both make guest appearances, their relationship is apparently cordial), but the album finds
firmly taking the reins and seemingly relishing the experience.
produced
(
Bjorn Yttling
co-produced five tracks) and co-wrote all 12 tunes (except for
Eric Bachman
's "Sleep All Summer"), and the rich, deeply atmospheric sound of this music has her personality written all over it.
has a voice that's warm and engaging but speaks from a position of strength, and her instrument dominates
, expressive and emotional but never histrionic. The arrangements are beautifully detailed, with layers of guitars and keys giving the melodies full-bodied support without sounding cluttered or intruding on
's spotlight. Even when
shares lead vocals with
Mark Lanegan
on "Curse of the I-5 Corridor" and
Bachman
on "Sleep All Summer," she meshes beautifully but cedes nothing, and
is a superb example of an artist who can shine bright while giving others room to do their best work. And if
's lyrics are often enigmatic, they also feel revealing and personal, from the bittersweet nostalgia of "Curse of the I-5 Corridor" and the troubled memories of "My Uncle's Navy" to the playful cynicism of "Bad Luck" and the celebration of strong and empathetic women in "Winnie" and the title cut. With
has once again given herself an ideal showcase for her talents as a vocalist, songwriter, and producer; it's lush but intimate, and one of the strongest and most satisfying records she's delivered to date. Which, given her catalog, says a great deal. ~ Mark Deming
is an artist incapable of sounding like anyone other than
. She's certainly not adverse to collaborating with artists she respects; she's been a long-time participant in
the New Pornographers
, and has contributed her estimable vocal talents to albums by
Calexico
,
John Doe
Kelly Hogan
, and
Giant Sand
, among others. But on 2016's
case/lang/veirs
, an album she recorded in tandem with
k.d. lang
and
Laura Veirs
Case
found herself working as an equal with two creative peers for the first time, and while her work on the album was strong, it was an example of the whole not being all you'd expect from the sum of the parts. It's impossible to say if the experience informed
as she recorded 2018's
Hell-On
(and since
lang
Veirs
both make guest appearances, their relationship is apparently cordial), but the album finds
firmly taking the reins and seemingly relishing the experience.
produced
(
Bjorn Yttling
co-produced five tracks) and co-wrote all 12 tunes (except for
Eric Bachman
's "Sleep All Summer"), and the rich, deeply atmospheric sound of this music has her personality written all over it.
has a voice that's warm and engaging but speaks from a position of strength, and her instrument dominates
, expressive and emotional but never histrionic. The arrangements are beautifully detailed, with layers of guitars and keys giving the melodies full-bodied support without sounding cluttered or intruding on
's spotlight. Even when
shares lead vocals with
Mark Lanegan
on "Curse of the I-5 Corridor" and
Bachman
on "Sleep All Summer," she meshes beautifully but cedes nothing, and
is a superb example of an artist who can shine bright while giving others room to do their best work. And if
's lyrics are often enigmatic, they also feel revealing and personal, from the bittersweet nostalgia of "Curse of the I-5 Corridor" and the troubled memories of "My Uncle's Navy" to the playful cynicism of "Bad Luck" and the celebration of strong and empathetic women in "Winnie" and the title cut. With
has once again given herself an ideal showcase for her talents as a vocalist, songwriter, and producer; it's lush but intimate, and one of the strongest and most satisfying records she's delivered to date. Which, given her catalog, says a great deal. ~ Mark Deming
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