New album from a lauded indie-folk performer with poetic lyrics over a nuanced backing.
Dreamin’ Of is Pieta Brown’s ninth album and her second recorded with Bon Iver alumni S.Carey and Mike Lewis producing with her and forming the rhythm section, and with Jeremy Ylvisaker returning on guitar too. Her previous album, Freeway, released in 2019, met with critical acclaim and recognition from eminent peers Ani DiFranco, whose Righteous Babe imprint released the record, and Don Was, who wrote the sleeve notes. Although there has been a lengthy gap between records, this continuity of label and band gives a palpable assurance to the album.
The record is predominantly indie-folk styled, with a production feel not unlike Daniel Lanois, with a sparse and open feel, additional instruments layered in sparingly and to add texture, and Brett Bullion credited as providing ambience; presumably some of the sound effects and static buried in the rear of the mix. Brown’s vocals could be described as ethereal in places, breathy and waif-like in others; they fit in with the soundscape the band and producers have created. Her lyrics are poetic and nuanced; indeed, she has produced a book of poetry whilst working on the album, which is titled after and contains the lyrics to the song So This May I from this album.
The opening track, Time Of The Night, kicks the album off with a wash of subtle strings before what sounds like an acoustic bass, open and reverberant and agreeably high in the mix, comes in. Brown sings over her own picked acoustic guitar. It is followed by Was The One, with a soundscape of strummed acoustic guitars, what sounds like lightly treated drums, bass further in the mix and washes of electric guitar. She sings melancholy lyrics of love and sadness, before a squally indie guitar solo comes in and fades again. The title track completes the opening triumvirate with wafting keys, electric-guitar picking, and a patter of drums. Harmony vocals on the chorus blend into a mellow and tasteful saxophone solo as the track builds to the end.
Nothin’ But Trouble is one of the longest songs on the album, a song of looking back on a relationship, memories with sadness. Predominantly acoustic-guitar strummed, there are washes of slide guitar for emphasis. The chorus, “Mama was right, It’s ok to have fun, but there’s nothing but trouble, either side of a gun,” brings in a hint of a tragedy or a life gone wrong. Drinkin’ Side is one of the most effective songs on the album. Opening with an acapela moan of “Blue Eyes,” the bass comes in with a slow blues riff and sparse, relaxed drums. Brown sings a verse and then the second is taken by Amos Lee, before they duet on the third verse, his high, mellow vocals blending perfectly with hers.
The album closes with the first single, Glitter Town, her most pop-tinged track. The accompaniment is not unlike The War On Drugs, whom she references in the lyrics, along with Otis Rush. Her vocals are also mellow but fuller and less waif-like, fitting better to the accompaniment. Despite the slightly more upbeat nature, it feels like a song of regrets, with the chorus “Upside Down, In a Glitter town, Running with the hunted, Trying to break free, From all these things, That tattoo me.” It does close with hope and an upbeat note: “At least it’s love, That keeps me heading back for more…” The ellipsis in the written lyrics emphasising a wistful note, borne out by the vocals
The album throughout has an indie, almost ’90s vibe, with sparse instrumentation and poetic lyrics of nature, love, loss, war, and addiction. It feels considered and crafted as a whole piece but natural and not stilted, and the impression is that the songs flowed from her.
