Watershed

NONESUCHの名盤が続々アナログで登場! デビュー以来、ハイクオリティな楽曲とサウンドで常にファンの心を掴んできたk.d.langが自ら"今までやってきたことの集大成"と語る2008年の傑作『WATHERSHED』がファン待望の初アナログ化!

NONESUCHからリリースされた名盤が続々アナログで復刻!初アナログ化作品や限定盤のみでリリースされた作品を多数含む待望のラインアップで登場だ!

1984年のデビュー以来、ハイクオリティな楽曲とサウンドで常にファンの心を掴んできたk.d.lang。4度のグラミー賞と、8度のJuno Award受賞を誇る彼女は、アルバムを重ねるごとにその音楽性をカントリーからロック、フォーク、ポップスそしてジャズへと広げていった。

2004年にノンサッチへと移籍した彼女が2008年にリリースしたのが『WATERSHED』。k.d.にとって初のセルフ・プロデュース・アルバムとなる本作では、彼女のシンガー、ソングライター、そしてマルチ・インストゥルメンタリストとしての才能が存分に発揮されている。アルバムにはTeddy Borowiecki、David Piltch、Greg Leisz、Ben Minkといったk.d.をスタジオでそしてツアーでサポートしてきたミュージシャンたちをはじめ、Jon Hassell、Punch BrothersのNoam Pikelnyなどの面々がゲスト参加している。

k.d.自身が"今までやってきたことの集大成"と語る、カントリーからジャズ、ブラジリアン風な要素や『INGENUE』を彷彿される部分まで、様々なスタイルやジャンルが入り混じった、彼女の音楽性の深さをうかがえる傑作が、待望の初アナログLP化!

It seems very strange that Watershed is the first album of new -- as in self-penned -- material by kd lang in nearly seven years. Her last full-length, Hymns of the 49th Parallel, was a collection covers by fellow Canadians in 2004, and a compilation assembled from her country albums. Watershed also lists lang as producer, another first for the singer and songwriter. There are 11 songs here, including the beautiful single "Dream of Spring," that was released in December of 2007 and kicks off the set. There is a core band here that revolves around old friends Teddy Borowiecki (who not only plays organ, guitar, arranges strings, and does some programming, but also provides additional production in places), steel guitarist Greg Leisz, drummer Danny Frankel, bassist David Piltch (who also does some additional production), and some guests who include Ben Mink, trumpeter Jon Hassel, and Lynne Earls, who is also the recording engineer here. Lang plays guitars, banjo, piano, and assorted keyboards. There are bits and pieces of all of lang's best albums here. There is the elegance of Ingenue, the lush, restrained drama of Drag, and the earthiness of Shadowland with the contentment and joy of Invincible Summer. The songs are assembled as a sort of narrative. "Dream of Spring" opens with bluesy guitar, bass, and a drum loop that becomes a shimmering torch song with pedal steel guitar on its refrain. Lang's voice glides into a near swoon of longing from a reportorial, almost philosophical observation of places she'd inhabited before allowing herself to enter love openly and freely. The strings add a lushness that's in stark contrast with the steel, but it all works. While the song is sexy as all get out, there is a spiritual quotient in it; it's not enmeshed or entrenched. It's not desperate -- unlike some of the more blessed-out dream anthems on Ingenue. "Comin Home" opens with a sparse, slightly jaunty pluck of strings, and lang simply croons right into them: "Oh, sweet sorrow/Let's write the book tomorrow/For I caught a glimpse/Been obsessed with it ever since/My eyes no longer weak amongst the clarity that you pronounce in me..." This is an homage, and perhaps even a love song, but it's a platonic one that is spiritual in nature, whose tenets are very close to the eight worldly dharmas in Tibetan Buddhism. Noam Pikelny's banjo adds a nice dimension to this track, adding itself to the growing presence of strings, simple percussion, Leisz's pedal steel, and a dreaminess that is rooted in the everyday life of what illumination looks like when it is as apparent as the blue of the sky. "Once in a While" is among the most straightforward and ultimately sane love songs to ever come from the tip of lang's pen. The wonderful chorus of backing vocals (all hers), with a simple drum loop, an array of guitars, and an underpinning bassline that glides rather than weights the tune through its changes. "Thread" certainly touches on the feel of the best material from Ingenue, and strangely enough, though it is basically a spiritual song, it's sparser than almost anything here -- and certainly more so than on her former album. There is a small problem with Watershed (though on close reflection it reveals itself to be one of initial perception more than an actual flaw). Despite its wonderfully relaxed feel, an expert use of dynamics in individual songs, and the expert way of slotting different instrumental and stylistic elements next to one another and erasing the seams; it's that by about track six, "Close Your Eyes," the album seems to bleed into a whole, where the mood is so laid-back it makes one song more or less indistinguishable from another -- unless you are listening very closely. At under 39 minutes, it can simply go by you in a slow, dissolving blur. One reason is that lang doesn't stretch vocally the way she has in the past; there is a restraint in her vocalizing that is refreshing because nowhere does she over-emote and to be continued...

KD・ラングはヴォーカリストとして決して強い特徴があるわけではないけれど、深く静かでたゆたうように優しく響くその声には彼女のパーソナリティーが美しく反映されていて、魅惑的だ。実に8年ぶりの完全オリジナル・アルバムとなる本作は、彼女の本懐であるカントリーをベースにジャズやブラジルの要素も滲ませた静謐なサウンドが沁みるが、なによりもその滋味に溢れた歌の素晴らしさに酔う。
bounce (C)北爪 啓之