Rosie Thomas' decision to simplify & return to the early joys of singing/songwriting reaps great rewards, giving her fourth album the warm intimacy of a day with friends.
Very talented, intuitive friends, that is. Thomas’ circle of music buds have much to do with the album’s eclectic delight. Especially co-producer/instrumentalist/singer Sufjan Stevens, whose presence is as strong as Thomas’ own. Over an off and on period of two years, Thomas, Stevens, and Denison Witmer, and occasional pop-ins, spent time in a Brooklyn apartment, set up simply with one or two microphones in a bedroom, kitchen of living room, capturing songs within minutes of their creation. That atmosphere of cozy friendship translates well to These Friends of Mine the general jocularity and between tracks banter adding to the album’s relaxed vibe. Which is not to say that the ten songs are not focused or insightful; Thomas’ weird little vocals take on three very particular covers and seven originals aimed at her usual targets, love, relationships, and yearning. Lots and lots of yearning.
The lovely plinking strings of “Why Waste More Time” add a wistful air to the sweetly honest assessment of our frail humanity. New York City is another prominent theme, an admitted Thomas “obsession.” These lyrics are the most visceral and immediate, bringing the city’s energy to life on tracks like the delicate opener “If This City Never Sleeps,” “All the Way to New York City,” and the insanely melodic standout “Much Further to Go.” The latter is one of the album’s fuller tracks, both sonically and lyrically, the gorgeous blend of Thomas fragile vocals and Steven’s and Witmer’s warm harmonic backup truly show-stopping. Also worthy of mention is Witmer’s achingly poignant “Paper Doll,” a brave expression of voicelessness, one that I have a hard time comprehending was written by a man.
Thomas and her frail wispy vocals could veer over into the chasm of self-indulgence, but the Americana instrumentation keeps the album grounded, as spare as it is. Lots of simple finger-picking acoustic guitar, along with the occasional Stevens banjo. Thomas’ distinctive vocals are brought forward to a satisfying crunch, especially effective on Fleetwood Mac’s “Songbird.” She is equally potent on the superb title track, somehow both whimsical and forceful in the warm ode to the friendships that support and succor her so satisfyingly. Quirky harmonies build to a big finish, tying the album up with a fat friendly bow of joy. There’s a reason for the wildfire underground fervor for Thomas, Stevens, and friends, and These Friends of Minegoes a long way toward explaining it.
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