After Beth Orton's less than successful collaboration with Ryan Adams and The Chemical Brothers on 2002's Daybreaker, it's great to see her on her feet again on the long-awaited follow-up, Comfort Of Strangers. Producer Jim O'Rourke, who has worked with a vast array of musicians from Wilco to Sonic Youth, gives the album a feeling of grand intimacy and manages to deliver Orton back to the sparse, dreamy sound of her masterpiece debut, 1996's Trailer Park.
'Worms' is a stunning opener, a streamlined song with a wicked melody and plenty of sultry attitude. The piano and bouncy percussion that accompany Orton sound just like Spoon and pack a perfect punch to grab our attention before the relatively quiet acoustic sound of much of what follows.
Most of Comfort Of Strangers is wrapped up in Orton's usual aesthetic, which is an airy, gorgeous flow of acoustic picking she performs entirely herself. There's only a couple of other musicians on the album'O'Rourke plays bass and marimba, and Tim Barnes provides fantastically orchestrated percussion'and this limited collaboration suits the album very well by giving it a personal touch. At most points, every instrument being played can be heard so clearly that the few times there's a wash of instruments, it stands out and compliments the rest.
One of the finest moments on the album is 'Conceived,' which is uncannily reminiscent of British folkie Nick Drake's 'One Of These Things First,' both in its mystical melody and existential lyrics. 'Didn't ask to be conceived in a loveless embrace / Still we learn to be a warm sun in a very cold galaxy,' sings Orton, as beautiful strings sway in and a harpsichord solo picks up where the chorus leaves off. It is remarkable, to say the least.
The delightful 'Shopping Trolley,' co-written with M. Ward, has a ridiculously catchy refrain and radiates bittersweet optimism: 'I think I'm gonna cry / But I'm gonna laugh about it all in time.' The bubbly, frolicking interplay between piano and guitar and the shimmering drums help make it a fine piece of sunshiny folk-pop, the likes of which few others are capable of pulling off with such style.
One of the most compelling things about Beth Orton is her amazing voice. It is graceful and slightly wispy, yet substantial when it needs to be, and usually soaring and disarmingly soulful. The stellar title track on the album showcases it well, as she sings about love with beautiful, plaintive expression.
Comfort of Strangers was recorded in a scant two-week session, and it sounds like it in all the best ways. Many songs contain a tossed-off elegance, like they were recorded among friends in a laid-back atmosphere. There's no overproduction or creative indulgence, just a fine batch of heartfelt folk-pop songs that manage to transcend that narrow definition a million times over.
