Out of the Woods

Product Description

As the singer and co-songwriter of Everything But the Girl, Tracey Thorn is one of the most recognized voices in music. She's responsible for over 2 1/2 million albums sold in the US, a Gold album, a number #1 single, as well as being the vocalist on Massive Attack's biggest hit Protection and the Hunter Gets Captured By the Game on the 1. 5 million selling soundtrack Batman Forever. And now she has been nominated for a Grammy for her collaboration with German DJsTiefschwarz (Damage Thorn (Buick Project Remix)). Tracey Thorn's new album, Out of the Woods, effortlessly mixes the dance-driven, electronic feel of Everything But the Girl's recent direction with a return to her acoustic pop roots. In short, Out of the Woods is sophisticated pop that sounds as at home in the café as it does in a club's lounge. It's an album that will effortlessly appeal to both the old and new Everything But the Girl fans, an extensive audience built up over 22 years. Already anticipation for Out of the Woods is spreading to blogs for artists like Pet Shop Boys, Goldfrapp, Gwen Stefani, the Eurythmics, Massive Attack, Liz Phair and Paul Weller, attracting across the board attention that is sure to draw traffic to this album.

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Out of the Woods is the first solo album from Tracey Thorn for over two decades. The British public probably know Thorn best as the voice of Everything but the Girl's "Missing," the Todd Terry mix of which hit No. 3 in 1994 and hung around in the Billboard Top 100 for over a year. That huge hit, however, is somewhat deceptive in the context of Thorne and her partner Ben Watt's 25-year career. Out of the Woods, like much Everything but the Girl before it, is a set of torch songs versed in the production techniques of clubland, but shot through with a melancholy soul more familiar to jazz or folk-rock--or, indeed, cosmic disco pioneer Arthur Russell, whose "Get Around to It" Thorne covers here, and all but makes it her own. Lyrically, events hint at a certain domesticity: "Nowhere Near" is a delicate song about motherhood sung over shimmering synths, piano, and pipes, while "Hands Up to the Ceiling" seems to be about finding sanctuary in a record collection, Thorne sneaking to an attic to spin "Siouxsie Sioux, and Edwin too/Bobby D, in '63." Those eager for Thorn to reprise "Missing," however, maybe be satisfied by "Grand Canyon" and the closing "Raise the Roof," two potential club hits in the waiting. –-Louis Pattison