What people search:
 | Title : Daybreaker
Author : Orton, Beth
Release Date : 20020730
Binding : Audio CD
Regular Price : $18.98
Amazon.com Price : $12.40
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Editorial Reviews :
Like Beth Orton's previous offerings, her third album makes a slight first impression. Sure, the jangly acoustic guitars, drifting melodies, and robust voice are pleasant enough, but it is only after a while that the true potency of the songs becomes apparent. 'Nobody can keep you from the one you know you are,' she sings quietly on 'Mount Washington.' Fueled by her mother's early passing, each of Orton's songs is accordingly anchored by a deep sense of sadness and loss. Despite the occasional electronic flourishes at the hands of collaborators such as the Chemical Brothers and Everything but the Girl's Ben Watt, and the beaming West Coast harmonies she shares with pal Ryan Adams, Daybreaker is a supremely personal record. 'There's a concrete sky falling from the trees again and I don't know why,' she muses on 'Concrete Sky.' And like Tim Buckley and Nick Drake--the hopeless folk icons that came before her--there seems to be a sublime urgency in her work that suggests a seemingly innocent song like 'Thinking About Tomorrow' is not so much about optimism as fate.
Buyer Reviews :
I'm surprised that not one review of Beth Orton's wonderful new disc 'Daybreaker' (at least none that I've read) has mentioned the obvious departures from her last two efforts.
First off, 'Daybreaker' is more edgy and musically challenging than either 'Trailer Park' or 'Central Reservation.' Aside from the lovely single 'Concrete Sky,' the new album is less melodic than Beth's previous work, but she seems to offset this with song writing that is more haunting and complex than ever. I swear there isn't another singer/songwriter today that can turn a musical phrase or pierce you with a lyric like Beth can.
Second, and related to my first point, the production on 'Daybreaker' is a significant step toward Beth's more experimental tastes and a retreat from the folkier aspects that dominated her previous work. Yes, she was certainly experimental before (especially with electronic elements), and yes there are folk stylings on the new disc -- particularly on the second half -- but the balance has definitely shifted toward a more modern (postmodern?) sound.
Finally, Beth's voice sounds different -- more confident than ever, but less 'pretty' IMHO. On previous records, like CR's 'The Sweetest Decline' and 'Couldn't Cause Me Harm,' Beth's vocals were like warm honey. This time around, there's greater tension and urgency in her voice, yet the lyrics aren't articulated as clearly. This bothered me at first, but after a couple of listens everything seemed to mesh.
I have to wonder what happened to Beth Orton between 'Central Reservation' and 'Daybreaker.' If her photos and videos are accurate, she's never looked better and, more importantly, she's never sounded more true to herself. It's like she's had her own personal renaissance...how fortunate for all of us!
(by A music fan)
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