by Calvin Staropoli (@cal_staro)
Whether it’s through her solo output or her work with bands like Espers, Meg Baird has spent the last twenty years slowly building on her musical foundation. From a young age, she immersed herself in traditional folk music. It made sense that this is the sound she would gravitate towards once she started to record her own music back in the early 2000s, but over the years, she has subtly started to push this sound into new directions and make it her own. On 2015’s Don’t Weight Down The Light, this became a lot more evident, as she took on a larger instrumental palette and created something a lot more atmospheric. Now on her latest record Furling, she pushes it even further, resulting in her most engrossing and lush record to date.
The shimmering instrumental opener “Ashes to Ashes” eases you into the record perfectly. The immersive production is on display right away. Inquisitive piano chords float over a relaxed drum beat. The ghostly vocals that come in next sound like a pack of wolves howling at the moon. A reverb drenched electric guitar suddenly starts to cry in the distance, then eventually everything fades to the sound of crickets rustling, transporting the listener to a scene of serene nature. This opener sets the tone beautifully, but the album truly starts to soar with the stunning “Star Hill Song”. We are introduced to two more essential elements of the record’s sound; serene acoustic guitar and, the main attraction, Meg Baird’s remarkable vocal performance. Baird floats on top of these tranquil instrumentals with energy and elegance. She is able to easily jump up to higher registers effortlessly, switching up her timbre as needed. Her voice is powerful, but there’s also a fragility to it. All of these musical elements meld together into a dazzling, psychedelic landscape.
Besides the bump in production, Baird’s songwriting and guitar work has also never sounded better. Even on sparse tracks like “Cross Bay,” Baird and her guitar are able to create a musical world just as engrossing as anything else here. Her vocal melodies are the perfect compliment to her seasoned guitar work, which switches seamlessly from fingerpicking to strummed patterns without missing a beat. Lyrically, she confronts someone who can’t accept that what they had is over. She lays it out plainly: “It really is that bad”. The pensive guitar chords softly lament as she explains to this person that she simply isn’t who she used to be. “Early one evening just call out my name, you'll see it's really not the same one anymore”. The longing of the lyrics and vocal performance adds a layer of heartache to the whole album that is subtle at first, but can be devastating once it clicks.
Many of the tracks are built on a simple chord progression that is repeated, but Furling uses repetition as its strength, giving the listener the time and space to truly lose themselves in the soundscape. Then, when that big change-up does come, it feels like a revelation. When the bass and harmonies drop into place on the chorus of “Ship Captains,” it elevates the song from pretty to downright spectacular. It’s a testament to the craftsmanship of this album that every song seems to last just the right amount of time. Enough to fully draw you in, but never too long to where you’re getting bored. It knows exactly when to throw in something new to keep you on your toes and keep the record moving forward.
The overall sequencing also helps keep the record relaxed but focused. Toward the end, after a series of gorgeous but breezy tracks, we get a fantastic change of pace with the buoyant “Will You Follow Me Home?”. The added layers of percussion and bouncy bass makes it danceable and groovy, without sacrificing any of the atmosphere or great songwriting. Layers of electric guitar and strings keep everything expansive, and Baird’s voice effortlessly reaches for the stratosphere. This is the sonic peak of the record and it’s truly marvelous. If Baird’s versatility wasn’t on display before, it certainly is now. She can be calming and ethereal one moment, and in the next, she’s daring you not to get up and dance.
Furling is a work of pure artistry; A no gimmicks, straight-up gorgeous folk record that’s perfect for keeping you company on a long, contemplative drive. Baird has always been a great artist, but this feels like a big leap forward for her sound. Her addicting style of psychedelic folk will have you constantly coming back for more. At its peaks, it is pure musical escapism. When the harmonies are building and her voice is soaring, all earthly concerns simply disappear.