Customer Reviews

Elephants: Teeth Sinking Into Heart[2 LP Vinyl]

5 star:		(19)
4 star:		(5)
3 star:		(4)
2 star:		(1)
1 star:		(1)

 

 

I was a big fan of Rachael Yamagata's first album, Happenstance - not only for the music that hit the Top 40, but the lyrics of an up and coming songstress. It's been 4 years since that, and I was curious to where the maturity would take her as an artist.

This is definitely not where I thought it would go. In an age of jaded pop artists, I couldn't blame her for going more mainstream by playing for a different market. However, Elephants is a journey into a mature, darker place within her heart, tingling with being jaded and aching to show a different side of her.

Elephants definitely warrants a second listen through, if not to appreciate what she's done: Instead of diverting herself to the mainstream, she's turned inward to become an artist and a musician. I get the feeling that I'll be listening to this more than Happenstance.

Musicians like Rachael Yamagata don't come across very often, and I can't wait to see where she goes next.

Rachael Yamagata is one of those artists it's okay to fall asleep to while listening to her music. Not because it's boring (unless you incorrectly equate "slow" with "boring"); her songwriting is comforting, careful and intimate - and her voice matches these qualities perfectly. In fact, her vocals are more consistent and maybe even more mature this time around. It's been four years since Happenstance (her first studio album) and her songwriting has seemed to find a balance between soft pop-rock (and I use all three terms very loosely) and even softer, richer lullabies (I'm thinking of "Meet Me By the Water" from Happenstance and "Over and Over" from Elephants...). That being said, Rachael is definitely not the artist to listen to while you're driving down the freeway (at least not in my 2000 Saturn that rattles); she was amazing live in Seattle (at a small venue off Madison called Chop Suey) and amazingly, she sounds just as personal and incredible with earbuds. Her melodies are just as beautiful, brilliant and inspiring as her first album and EPs, though perhaps not as experimental (as "Collide" or "Under My Skin"). I think the highlights are "Sidedish Friend", "What If I Leave", "Pause The Tragic Ending" and "Sunday Afternoon". Rachael could stop creating new music today and I would still think she contributed something truly unique and heartfelt to the musical canon, but of course, I hope she releases many, many more albums.

I waited a long time for this release, and it proves to be well worth the wait. Ms. Yamagata will obviously never "sell out" just to sell records. With beautifully soaring vocals and instrumental arrangements Rachael stays true to her roots. You have to respect a woman who writes ALL of her own songs. (I don't understand the parental advisory - I heard nothing even close to offensive.) True fans will not be disappointed and new ones will be pleasantly surprised by the beauty and sometimes heartbreaking honesty in her lyrics. I first thought "Oh boy, TWO discs? Why does she have to be so different?" But after listening, two discs makes sense, showing progression from sadness to see ya! I do look forward to the day she is a relationship and we get to hear the happy stuff! Buy it. If you get a chance to see her live- go! She is very gracious, funny and entertaining.

This is a brilliant piece of work. Yamagata's voice is the perfect sound to go with the wonderful music on this collection. Her lyrics put you right where the song is supposed to, and you can't help but put yourself in her shoes as she sings of things we have all gone through in relationships. Amazing. The "Duet" with Ray Lamontange is one of the best songs on the disc. Ray's voice is the best out there today, and to hear it coupled with her's is a true gift to fans of the lost art of the singer/songwriter. In today's manufactured garbage music that dominates the charts, it's good to know people like Rachel Yamagata and Ray LaMontange are still out there and work together to make amazing music. By this and her debut...you will NOT be sorry.

Chicago based pop chanteuse Rachael Yamagata should be one of the emerging queens of Alt. Rock by now. Actively recording since the mid 90's, Yamagata is now finally receiving her due after appearing on a multitude of other artists (Ray LaMontagne, Jason Mraz, Ryan Adams, Conor Oberst and Rhett Miller) records. On `Elephants...Teeth Sinking Into Heart,' Rachael Yamagata's sound is split into two separate discs.

The first disc is mostly comprised of wounded and somber meditations of love and loss. Largely acoustic and quiet, `Elephants...' focuses on Yamagata's strength in her husky voice on many lushly arranged songs. The mood on the first disc is contemplative and somber until it reaches a crescendo on "Little Life." Ray LaMontagne guests on "Duet" and provides a quiet intimacy to this track.

The second disc, `Teeth Sinking Into Heart' reveals a cynical side to Yamagata. "Sidedish Friend" recalls PJ Harvey at her most prickly. "Faster" swaggers to a distorted blues riff. "Don't" closes the album with a sigh and a warning showing that this kitten does indeed have claws.

One of the most impressive artists I've had the privilege of discovering recently, Rachel Yamagata has the ability to chill my bones while warming my heart; and she does it effortlessly. With a sound reminiscent of Fiona Apple (yes, the comparisons are justified), a haunting fragrance comparable to Poe (got to love that) and the soulfulness of Ray Lamontagne (who even duets with her on `Duet'!!!), Rachel Yamagata has her style, and her fan base, practically carved out for her already; but what makes Rachel so special is that she exceeds all expectations by making each and every track her own, never falling into copycat territory or resting easy on the coattails of those who paved the way for her. With the voice of an angel (a fallen angel, beings that the hint of smoke and whiskey rule out a heavenly hope) and the fearlessness needed to stand out in the industry, Rachel Yamagata is one of the best musical talents you've never heard of.

Now you have.

`Elephants' starts off the album with a bold and blunt outlook from this fragile looking creature. Her outer beauty is offset by her inner melancholy; both facets of her person elevating the other to create something truly beautiful to comprehend. Speaking of haunted past lives and blood-soaked jaws, Yamagata paints a vivid picture that one will not soon forget; and the instrumental version that appears in the center of the album only brings those memories back to life, full force. `Sunday Afternoon' may seem daunting at nearly ten minutes long, but don't be afraid; the track never wanes and is one of the best on the album. With a delicate introduction that leads way to a robust center, warming up to a fragile conclusion, `Sunday Afternoon' is a brilliant track that is the definition of a `full circle' or `complete' song. `Little Life' explodes with effervescent beauty at about the 2:15 point. That isn't to say that the song isn't beautiful before that, but it takes on another life. `Over and Over' soars with the use of the piano, and instrument that, in all its beauty, is the perfect vehicle for melancholy expressions. Rachel soaks into this fantastic ballad, creating a major standout on a record filled to the brim with standouts. It reminded me a lot of something off of Damien Rice's albums; something simple yet so rich with character.

`Duet' is one of the most beautiful songs I've ever heard, and the pairing of Yamagata and Lamontagne was pure genius; providing us something pure, genuine and sincere.

`What if I Leave' has a nice laid back feel to it, with soft vocals and simple musical accompaniment. `Horizon' isn't as long as `Sunday Afternoon', but it feels longer due to the fact that it isn't as stunning or as engaging. It's still a good song, and it possesses Rachel's beautiful delivery, but it just doesn't have the sparkle I was expecting. That said; `Brown Eyes' is my least favorite track on Disc 1. It just feels out of place for me, slightly distant and awkward.

The best track is the hidden track, `The Only Fault'. It's a brilliant composition of chilling reality and beautiful fantasy; exposing Rachel at her most impressive. Lyrically it is tragically beautiful, and the simple delivery is so much more complex than one might initially expect. It is much more difficult to remain engaging and poignant in sheer delicacy that it is to attempt to dazzle with large amounts of `talent'. Her voice brings to mind the delicate vocal stylings of Leslie Feist; gorgeous.

Disc 2 starts things off with the marvelous `Sidedish Friend'; a spunky and energetic number that is a breath of fresh air on the rather down-tempo album. Sadly, the rest of the Disc lacks the `full' robust flavor of the opening stunner. `Accident' tries, but it falls a little short. It has edge, but the edge lacks the `pop' that `Sidedish Friend' capitalized off of. It's a good song, but it isn't `great'. `Faster' incorporates a rockers heart, which is unexpected (in fact, Disc 2 was a little unexpected) and she pulls it off, even if her voice seems to fit the flow of Disc 1 much better. I give her major props for completely changing her style on this Disc, offering us a complete package so-to-speak. `Pause the Tragic Ending' slows things down again, with a little Latin flare to the backing musical arrangement (yes, it's there). The song is a tad forgettable, but while it's on you'll be intrigued. `Don't' closes the album in a way I'm not too comfortable with. It is nice, but a tad awkward, much like `Brown Eyes' was; just out of place.

In the end this is an extraordinary album, even if a few tracks fall short of the majority of the album. Every track is good, and all are worthy of your ears; and the standouts like `Duet', `The Only Fault'. `Little Life' and `Sidedish Friend' are some of the best songs you'll hear this decade.

Her previous record, Happenstance, has been one of the most played albums on my CD player. It's packed with my family's favs, and the whole is so astonishing and diverse. Sometimes swinging (Be be your love), sometimes old-school (I want you), real-pop (Worn me down), etc. etc. Few months ago I was immediately attracted by the appetizer to her new album, which included a great song, "The Other Side" (why wasn't it included in the final version of the album?!), but already the appetizer seemed dangerously homogenous and too `lazy'.
Now, after 4 years of patient waiting, I am disappointed. I started to listen to "Elephants" with so much hope and warm feelings in my heart, and after 20 listenings I AM DISAPPOINTED. It's ambitious, but sometimes pretentious as well. Each of the most promising songs MISSES SOMETHING. Just to mention two examples: `Duet' is moving, but Ray LaMontagne's vibrato is close to self-parody. "Sidedish friend" - wow, finally something dynamic, but it sounds like an impoverished cousin of `Worn me down' from "Happenstance".
Rachael's voice is better, deeper and more sensual than ever. It has matured over the years, but unfortunately repertoire didn't catch up. Anyway, I am still willing to make a blind subscription to every Rachael's CD. If you don't have "Happenstance" yet, it's better to devote your money to Rachael's great debut. If you liked it, you will still find some good echoes of her talent and great sensitivity on "Elephants".

Yamagata seems to be a real artist who doesn't seem to consider commercial viability as her first priority. She recently released a double album, the first disc which is entitled Elephants, the second, Teeth Sinking Into Heart.

Her first solo album Happenstance had the piano, strings, and guitar, along with the hooks and choruses. It was ultimately a pop album, but had an unmistakable "mature" sound to it; she carved a niche for herself in the adult alternative realm, as well as the pop realm, through the use of affective lyrics over catchy tunes that blurred the line between rock and traditional singer-songwriter material. I feel sorry for the people who have never heard of Yamagata, because that album was so damn good.

Elephants is slow, soft and relatively quiet. It's composed of Yamagata's smokey vocals, acoustic guitar, piano, and a lot of strings. Most of Elephants is like Yamagata's airy voice, breathed out as a wisp of smoke that gently wafts through the air, shaped by the slight vibrations from a slowly-beating heart.

Teeth Sinking Into Heart is its antithesis. Electric guitars, drums, and a more forced voice leaves Rachael's mouth. Like a heart that's been ripped out; still warm. Raw.

Yamagata plays the piano and/or acoustic guitar on every track, and she arranged many of the song's string/brass/woodwind parts. She's backed by a powerhouse of talented musicians that give this album a very sophisticated and impressively orchestrated feel.

This album doesn't really fit into a mold, and is an obvious break from Yamagata's brief past. It's clear she wanted to try something different, because this effort, four years later, is very different. An experimental album. Love it or hate it. She gives you two choices, to better her odds: Elephants is the white to Teeth's black. The quiet to the loud. An elephant to a tiger.

I should mention that "Duet" is a song she did with Ray Lamontagne, and it's pretty good. Also, the entire first disc may be mostly quiet, but it certainly has its moments; she never lets the music become stagnant. Above all, I must stress one thing: the brilliance of the opening and title track, Elephants. This was immediately, and remains, one of my favorite songs that I've heard in a very long time. It floors me. It is incredibly heavy, genuine, and poignant. It is Yamagata at her absolute best. The rest of the album as flashes of its brilliance but ultimately cannot (how could it) live up. If you're on the fence, listen to some samples, or honestly just buy this one song.

It's been four long years since Rachael Yamagata's debut album "Happenstance" made its appearance, and since then we've not heard a sung word.

So that makes the appearance of "Elephants... Teeth Sinking Into Heart" even sweeter, especially since Yamagata has clearly not stagnated at the point where she became successful (as most singer/songwriters do). Her second full-length album is just as bluesy and quietly bittersweet as her prior work, but four years have added polish and depth to her music -- especially the layered, string-soaked instrumentals and hauntingly world-weary lyrics.

"If the elephants have past lives, yet are destined to always remember/it's no wonder how they scream," Yamagata muses over a delicate piano melody. As a backdrop of strings pass behind her, she meditates on a past lover who is "forcing me to remember when all I want is to just forget you," and compares the painful memories and lingering feelings to various animals -- elephants, tigers, hawks.

As the song ends, she warns listeners sadly, "So for those of you falling in love/keep it kind, keep it good, keep it right/Throw yourself in the midst of danger, but keep one eye open at night...."

Things get no more cheerful in the songs that follow -- the reigning sound is that of piano/string ballads, drifting sadly through tales of lost love and haunting regrets. Yamagata does give the sound some variation -- gentle thumping ballads asking "what if I leave?", soaring laments, string-soaked jazzy tunes, trickling instrumentals that echo the first song, a folksy "Duet" with Ray Lamontaigne, country-edged melodies. It ends with a suitably plaintive lament ("Someday I hope I can find the horizon/I've been all around the world... And if I did teach you anything at all/I hope that you learned how to love...") that drips with painful sentiment...

.... except it's not actually the end. There's a second disc on here called "Teeth Sinking Into Heart," which is less into the whole piano-jazz/pop sound and more into rough-edged rock'n'roll. Yamagata smashes through the off-kilter melody of "Sidedish Friend," which sounds like the next step from her sadder songs: "I don't want you hangin' out with me/But I want you when I call/We can stay together separately/And we won't be lonely at all...."

She whirls through the celebrity clashes and breakups of "Accidents" ("There's nothing worse than bitterness/just splashed across the page") and the blurry, bass-driven "Faster." The EP finishes with a sort of balancing act in the multilayered "Pause the Tragic Ending" and "Pause," where the basic pop song expands into bittersweet, epic proportions. So different, yet so beautiful.

"Elephants... Teeth Sinking Into Heart" is a pretty unique musical experience: the first disc takes Yamagata's signature sound and makes it deeper and richer, and the second forges fearlessly into PJ Harvey/Pixies/Tom Waits territory. It would have been a disaster if she had broken up the bittersweet expanse of "Elephants" with the rock'n'roll sound of those later songs, but as a full-length album and accompanying EP it works perfectly. Call it spreading her musical wings in two very different directions.

Most of these songs are cradled in Yamagata's gentle piano melodies and blanketed in a thick swathe of overhanging, bittersweet strings. These two instruments weave together in a rich expanse of melancholy music that can reach some truly epic climaxes, or fall into a haunting murmur ("This little life... goes so fast..."). Additionally, Yamagata sprinkles them with a little flute, thumpy drums and some folksy guitar too, only to then switch over to grinding bass, reverberating guitar and breakneck pace in the second disc.

Only the last couple songs bridge over the two styles, uniting the rock'n'roll mentality and sharp guitars with the plaintive quality and nimble guitars of her quieter songs. "Pause the Tragic Ending" and "Don't" are the most brilliant that Yamagata has made yet.

Her husky voice has lost none of its quality either -- she still sounds world-weary and wise beyond her years, and seemingly perpetually haunted by the ghosts of old love affairs... although she can turn into a raw-voiced rock chick when the song demands. Her songwriting is what has changed -- it's gotten a lot more evocative and mature, with memorable metaphors ("A whispering ghost of neighborhood flame") and vividly emotional lyrics ("If the hawks in the trees need the dead/if you're living you don't stand a chance/You can lie there and say you are fed/but there are only two ends to this dance...").

It's been four years, but Rachael Yamagata has grown as a songwriter and a musician -- and while "Elephants" shows a more mature version of her past work, the accompanying "Teeth Sinking Into Heart" reveals a whole different side. Vivid, bittersweet and truly lovely.

If it takes another 4 years for Rachael Yamagata to make another album, I will be ok with it. After listening to this album, I can agree with the reviewer who gave the album one star regarding the tempos. But, in the context of the album, putting a song like "1963" or "I Want You" from Happenstance wouldn't fit the mood. This album is a much more complete album vs Happenstance. Her first album has great pop tunes with some deep tracks. But, Elephants...Teeth Sinking into Heart is all deep. The album will emotionally drain you if you let it. It's lush orchestrations, arrangements and beautiful melodies counter the dark, melancholy tone of the lyrics. If Happenstance was about the excitement love has to offer, Elephants...Teeth Sinking into Heart is about the pain love has to offer. This is a Radiohead (Exit (Music for a Film)/Let Down) meets Jeff Buckley (Forget Her/Lover, You Should've Come Over). While most artists write about love and pain and convey to the listener in a memorable melody, Rachael Yamagata makes you feel her pain - whether she's whispering or screaming. Most artists never conquer that kind of connection. Jeff Buckley did and so has Rachael Yamagata with Elephants....Teeth Sinking into Heart.