8/30/2023 0 Comments Obsidian rose album![]() ![]() It’s fascinating to compare CAZIMI with her 2010 debut, Own Side Now, which she reissued in September. There’s a convergence between how Rose (who co-produced the album with Jordan Lehning) tinkers with genre and the way she turns her characters’ situations over like a snowglobe. “ Nobody’s Sweetheart” is a chiming concern troll with a crushing descending figure that recalls ’70s AM gold fragments of its chorus carry into “Lil’ Vesta” (which crosses the sure-stepping pop of Adam Schlesinger with the romantic fatalism of, honest to God, early Toby Keith) and “Blameless” (the real weeper here, with a chorus that carries as much resigned faith as an evangelical worship ballad). (Or, I guess, like the Magnetic Fields.) On “Holdin’”-Rose’s second or third contribution to the lamentably small canon of country power pop-her narrator alternates grandiose threats with seething retreats, then gets chased by a lovely jangly counterpoint. “Star-crossed and ridin’ on heaven’s horses/I’ve had enough of these cosmic divorces,” she shrugs on “ Modern Dancing,” a blithe and, from the sound of it, severely capoed strutter that plays like “Soak Up the Sun” for nihilists. It could make for a heavy listen if Rose treated these situations weightily, but that’s never really been her approach. ![]() If anyone actually gets through the door, they pull the house down behind them. Pick a track: someone’s either breaking apart or barely holding it together. CAZIMI, Rose’s long-delayed third record, makes a complete song cycle out of those entanglements, with each cut reflecting the proper amount of neon.
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