Die erste Vorladung (IX)
In songs such as opening track,' I Go', vocal and instrumental layering showcase Schlesinger's talent, while creating a sense of the spiritual. Using this focus on the layering of vocals, Schlesinger skilfully produces a choir like sound in which it's as if every snippet of her voice represents a varying emotion, or slice of personality. Each song, from simple opening track 'Yai Yai' to the darker 'No Coming Back', adds to the developing sense of this debut effectively being Schlesinger's thoughts and reflections on her own music and its progression, in melodic form. Unlike many albums, the debut of this former lead singer builds to no medial or terminal climax which each song is centred around, but remains inflexible in its calm and pensive beauty, and seems to suggest a developed sense of self-acceptance on Schlesinger's part.
The twee stylings of Schlesinger, displayed so quirkily on this album, would follow A Creature I Don't Know and Made of Bricks quite perfectly for some relaxed summer listening, and would most certainly end it on a chilled and contented note. However, this is not an album for every occasion, and it is at times repetitive in its lyricism. Just like we can only stand to hear Kate Nash singing "you said I must eat so many lemons...," in that faux cockney accent so many times, so too is there a limit to the amount of times one can stand to hear "Yai Yai Yai Yai Yai" repeated. Mean anything to anyone else? No, didn't think so.
It's an album that really showcases Tamara's voice, both as instrument and conveyor of message. The songs are built in an almost orchestral way, adding layer onto layer to form a wall of sound around which the vocal weaves and spirals to add the textures.
"The Procession" feels very much like a song cycle, with each one, taking an element of its self into the next number, to be adapted an moulded into a new piece, giving the whole a sense of being, whilst giving the individual parts their own identity and pace.
There is also a very spiritual feel to the album. Whilst there is no direct comparison there were times when the album felt like it was tinged with a gospel spirit, well maybe more of an African praise singing touch. It's not just the choir like elements, it's the way Schlesinger gives them spirit.
This is an album that it's difficult to pick out the stand out songs, though "My Home" does set its self aside as the exception to the rule. Not that that casts "The Procession" as a one trick pony, far from it, it's a highly dynamic album that revisits the likes of This Mortal Coil and Dead Can Dance and gives it a slightly folkier, more spiritual sound.
Tamara Schlesinger has delivered an album that she can be really proud off. In the right mood this is one of those albums that will take very few substitutions, but it's not an album for all occasions and that's not a bad thing, so much better to be a master, or mistress, of one. Thoughtful, reflective, chilling, enlightening, that's more than enough for me.
Indizien und Beweismittel:
Nun sind die werten Richter gefragt...