eMusic

Start Your Trial

Artificial Fire

by

Eleni Mandell

 
  • Deal
Artificial Fire
view larger image View Larger

Rate it!

Avg: 4.0 (57 ratings)

The coolly brilliant Los Angeles chanteuse breaks your heart and buys you a drink

  • We Say...

    Never mind the artifice, here's Eleni Mandell, with feeling. The coolly brilliant Los Angeles chanteuse packs some serious heat, thanks in part to guitarist Jeremy Drake, who squeezes out the sparks that make the 15 songs on "Artificial Fire" roar and flicker. Not since Johnny Marr hooked up with Morrissey has a guitarist so effectively fleshed out a singer-songwriter's most candid emotions. On the opening title song, Drake snaps out a volley of notes underlining Mandell's motive for a seduction in Montreal: "I'm a killer at heart and I wanted to feel."

    Do you hear that, Eleni Nation? Once a master of the languorous pose, whether as the hovering angel L.A. bohemia in her 1999 debut Wishbone, or poised purveyor of noir twang in 2003's Country for True Lovers (k.d. lang as she might have been imagined by the Coen Bros), or on the original cabaret tunes that revealed the rich character of an old soul in 2007's Miracle of Five, on this one, Mandell lets her heart speak and body rock. "I want to feel good, I want to feel right," she sings in "God is Love," a song with enough sex and spirituality to make Madonna levitate.

    "Personal" is part personal ad, part confession, a lovely string arrangement by Drake abating the loneliness as Mandell sings, "I need to feel..."; pausing for a beat, she adds, "hopeful." Mandell is capable of breaking your heart with poignant childhood memories, singing about her mother in a yellow dress, "dad in his red Pendleton shirt" in "It Wasn't the Time (It was the Color)," and still, revealing her feeling: "I felt so forgettable." On the other hand, there's plenty of sex in the city, whatever city Mandell happens to be in, on the swinging and satisfied "Right Side," on the furtive and intoxicating "In the Doorway," and in the finest three minutes she's ever recorded, a romp called "Bigger Burn" which rollicks and rolls like it jumped out of Meet the Beatles, Drake firing off a jubiliant, compressed solo like George Harrison on "I Saw Her Standing There." The later songs on this rich 15-tune collection take on different '60s shades, from the girl-group sound of "Don't Let It Happen" (Inara George, harmony vocals), from which Mandell strips the naivete, to the brilliant Grace Slick stance on "Needle and Thread," on which Drake and bassist Ryan Feves and drummer Kevin Fitzgerald manage to approximate the Jorma Kaukonen/Jack Casady/Spencer Dryden core of Jefferson Airplane. Closing tune "Cracked" makes explicit Mandell's affinity for X and the historic L.A. punk scene, with which she identifies but rarely embodies. This time she does, and why not? Drummer Fitzgerald even gets to bash like he does when he tours with the current version of the Circle Jerks.

  • They Say...

    One word that is seldom, if ever, used in connection with Eleni Mandell is "belter." The Los Angeles-based singer/songwriter has generally favored a subtle, understated, hushed vocal style; Mandell's vocals are a whisper, not a shout or a scream. But Mandell's subtlety doesn't mean that her performances and songs are lightweight or lack substance; emotionally, Artificial Fire has a lot going on. This 2009 release is a fine addition to her catalog, although it isn't an album that goes for immediacy. Mandell, for the most part, is so restrained in her approach that one who isn't familiar with her work could allow Artificial Fire to quietly fade into the background if the volume isn't turned up; again, she isn't going to beat listeners over the head in order to get their attention. But relegating Artificial Fire to mere background music does the listener a huge disservice, and those who are paying close attention will realize just how substantial tracks like "Needle and Thread," "Little Foot," "Tiny Waste," and "In the Doorway" are. A singer doesn't have to belt in order to be expressive -- Chet Baker, June Christy, Helen Merrill, and other members of jazz' Cool School made that abundantly clear back in the 1950s -- and Mandell is definitely expressive whether she is combining alternative pop/rock with jazz, cabaret, or folk. Of course, those who sang the praises of Mandell's previous albums never doubted for a minute that she was an artist of substance and depth. But if one needs a reminder, the rewarding Artificial Fire does the trick nicely.

  • You Say...

    Write a Review

    I would like to say...

    Artist: Eleni Mandell

    Album: Artificial Fire

    Review Title: (maximum 50 characters)

    Your Review: (maximum 1,000 characters)

    Cancel

    Please keep your comments to the recordings themselves, and be courteous and respectful. Thanks! For further info, read our Community Guidelines.

The indie iTunes — Hardcore music fans are migrating to eMusic, the iTunes Music Store's cheaper, cooler cousin.


Rolling Stone
Start Your Trial

Recently Viewed

Back
Forward

© 1998-2009 eMusic.com Inc. eMusic and the eMusic logo are either registered trademarks or trademarks in the USA or other countries. All rights reserved.

All Music Guide © 1992 - 2009 All Media Guide, LLC
Portions of content provided by All Music Guide, a trademark of All Media Guide, LLC

Facebook®, YouTube, Flickr™ and Wikipedia® are registered trademarks of their respective owners, Facebook Inc., Google, Inc., Yahoo! Inc. and Wikimedia Foundation, Inc. Neither Facebook Inc., Google, Inc., Yahoo! Inc. nor Wikimedia Foundation, Inc. are partners or sponsors of eMusic. eMusic uses the Facebook, Flickr, YouTube and Wikipedia API but is not endorsed or certified by Facebook, Flickr, YouTube and Wikipedia. eMusic does not pre-screen, monitor, endorse nor assume any liability for websites, contents, products, services or claims made by Facebook, YouTube, Flickr™ and Wikipedia®.