Lucid Lyrics, Intricate Harmonies on the 'Verge'

Author: Becca Kaufman Staff Writer

In November of 1998, Erin McKeown, Beth Amsel, Jess Klein and Rose Polenzani — four young, talented and eager musicians — found each other. They were, as they explained later, "voices on the verge"; that is, young performers ready to make it big on the folk scene. And they have accomplished just that. Besides the albums they have recorded individually, these four women recently teamed up to release their first album as a group, entitled, of course, "Voices on the Verge: Live in Philadelphia."

When the four first started to perform in the same venue, they did not realize the group effort would actually result in an album. They liked harmonizing and experimenting with what one had written, seeing how far they could test their own musical abilities and challenging themselves to a style different from their own. And stylistically they do differ (McKeown is compared to Rickie Lee Jones, while Amsel to Dar Williams), nevertheless, their strong voices and lyrics allowed for a powerful foursome. They continued producing and touring individually, but they never stopped performing together: Voices on the Verge is a sample of what they have accomplished respectively and as a group since they first began almost four years ago.

Each track, with the exception of one, was written by either McKeown, Amsel, Klein or Polenzani. The lead vocals are sung by the writer while the other three create intricate harmonies, one track even done completely a cappella. While they passionately harmonize each piece, the songs have very different feels, depending on who wrote the lyrics, ranging from an Ani Difranco-like style to a mystical and even gospel-like feel.

Of the three McKeown, a recent graduate of Brown University and the youngest has the most distinct style and voice. Although she clearly fits into the folk genre, she also defines herself as "part beat poet" and "part jazzy funketeer." This added influence is reflected in her song lyrics and combined with her soft and breathy voice, McKeown's songs stand out. "Blackbirds," one of the most lyrically and stylistically unique tracks exemplifies her strengths as a singer and a songwriter. In the fast and jazzy song, McKeown uses wonderful alliteration. The words seem to pop from her mouth as she sings "four and twenty blackbirds/ perched o'er Milhaus floor/…watching a pair of blackbirds/ a pair of blackbirds more." The song is reminiscent of a simple nursery rhyme which the women, with fast and sharp acoustic guitars and vocals turn to a mysterious and haunting jazz piece.

McKeown's pieces differ from the other three whose lyrics and music are more classically folk. Polenzani's, Amsel's and Klein's lyrics are reflective and poetic, often telling stories of love and individual struggle.

Klein's song "House You're Living In," for example, is a moving description of growing older and understanding one's place outside of the home and the family. "You're not a child any longer," she warns, "What makes you think that the world/ Is gonna love you/ Poison pushes harder/ Branches under the skin/ The house you're living in."

The only track written by someone other than the four is "Hunger" lead by Beth Amsel. It is also their one a cappella track, perfect for Amsel's deep, rich and strong voice. It is slow and repetitive, beginning with Amsel singing solo, "I am hunger/ You are passion, baby/ I am silence/ You're the tower of babble, baby/ I will listen/ While you're singing my soul to sleep." It then builds as the other three join in the chorus, "While you're singing my soul to sleep," repeating itself over and over.

This spiritual and gospel-like song shows the musical sophistication and range of the four women. With their strong talent for singing and songwriting Voices on the Verge is able to combine musical influences as wide-spread as jazz and funk to classic folk artists like Lucinda Williams and Paul Simon, giving the folk world something new and unique to applaud.