The Ghost Who Walks from 2010 was made under the mentorship of Jack White, the guy who was Karen Elson’s husband at the moment. It was Karen’s first serious step into music waters. Everything on that debut was blues-Goth-folk fashion, the style Jack White constructed for his muse. Karen Elson was just that back than – another project from the laboratory of the multi-talented producer and musician. She was a nice package who delivered a surprisingly decent album.
Seven years later, White and Elson are divorced, and the question rises whether the new record Double Roses is confronting with the past, either musical or romantic one. According to Karen, this is not a love album, especially not a break-up one. Whoever listens to it should determine on their own whether the lyrics are romantic or not. The fact is that is bring something different from her debut, both in the style and the sound.
This time, the producer is Jonathan Wilson, known for his work with Father John Misty and Connor Oberst. Other collaborators include Patrick Carney (The Black Keys), Pat Sanson (Wilco) and Nate Wolcott (Bright Eyes). When you see such an impressive list of associates, you can not avoid being in awe. There is also a threesome collab with Father John Misty and with beautiful Laura Marling.
Carefully chosen crowd was a recipe for another decent record. Karen Elson knows how to sing, she has a good taste, but you are still left the impression that the album could have been much more complete. Something is missing. Certainly, this is a specific story, but the intrigue and subtle quality of the debut seemed more attractive to me. Double Roses is more polished and more serious. It is also definitely less obscure and more mature. The release balances between easy-tempo and a bit more haste numbers. There is also a powerful melodic pop number Call Your Name that could be an indicator of her dealing with the ghosts of Jack White.
The album unfolds with Wonderblind and it leads the story in the folk direction. It is a beautiful ballade with peculiar instruments that give a substantial feeling of nature. This feeling permeates the whole record, and it is also hinted on the album cover with sea waves. Insisting on the natural, direct and candid facets, is a total opposite direction from the debut, which was more theatrical and artificial. Simplicity of the sophomore material is a wise step for Karen. Just take a listen to the mentioned ménage a trios with Laura Marling and Father John Misty titled Distant Shore. The same applies to the title track.
Why Am I Waiting is a courageous move to the future and it shows the singer’s determination to breakup with the past. The rhythm of the instruments implies binary quality of the past and the future. At the very end of the album comes Wolf in which Karen speaks about her demons and returns to her melancholic roots. The sensual saxophone closes the record.
After being a muse, Karen Elson decided to shut the doors of the past and open new windows for herself. Double Rouses may not be a love record, but it is definitely loving.
