Rachel Zylstra
Before You Could Decide
Independent Release, 2008
Rating: 9.0
Rachel Zylstra is a lot like Carol King, and that’s a compliment. What has always made Carol King so great isn’t the depth of her lyrics. Quite the contrary, it’s the simplicity of the songs she writes and how she sings them. With grit and earthiness, and some bare-bones piano, Carol King sings about love and heartbreak, about her promises to be a good friend, and about how much a little crush can feel earth-shaking – the simple stuff of life we relate to most. On Before You Could Decide Rachel embodies this very attitude and songwriting technique.
What Rachel uniquely brings to the ever growing lineup of strong, piano-based female singer/songwriters is a versatile voice, theatrical delivery, and top-notch piano skills. She must have had some serious musical training. Her vocals are in one minute capable of sounding very delicate, like Karen Peris of the Innocence Mission, and in the next, filled with the bravado and strength of Aretha Franklin. This makes for melodies that are surprising and, in turn, songs that are more compelling. Moreover, her diction is spot-on, perfectly pronouncing each word to the last “t.”
Her piano work has a similar quality, moving about with unpredictability and skill. On an album where no other instruments or voices were used, subtle flourishes and disciplined use of dynamics characterize a beautiful score that undergirds the strong vocals. She pulls off this one-woman show without sounding (to borrow an oft-used indie buzzword) “pretentious.” Moreover, the album was recorded at All Angels’, an old, historic Episcopal church in Manhattan. The setting leaves even more space for her talent to play out. What comes forth is an album with strong musicality, personality, and, most importantly, believability.
This believability is immediately obvious from the album’s beginning. On the opener, “Epilogue,” the narrator deals with the mixed emotions that follow the breakup of a potentially decent relationship. This dynamic is manifested not only through the lyrics but through the vocal melodies, which lie precariously between gentleness and forcefulness. Yet, Rachel doesn’t sound like she’s intentionally trying to sing with these conflicting emotions. She instead sounds caught up in the the song’s particular world, letting the melodies, lyrics, and emotions all move about naturally, making this track all the more believable.
The same can be said for “Under My Skin.” From a purely aesthetic point of view, this is the most beautiful sounding track on the album. It’s is also where her piano playing takes off the most. Thematically, this song explores that season of heartbreak when attempts to get over someone just make you more crazy and lonely than before. Low-register piano chords highlight simple, yet affecting lines such as “Now cake and Nyquil will send me back flat-faced on my king-sized bed.” Nice. “Under My Skin” is rainy-day material at its finest.
One mustn’t assume this album’s just some schmaltzy slice of heartache, however. There’s a certain groovyness to it that’s gonna get the toe tapping just fine. The best example of this is the standout track “Ruined Me Good.” Rachel’s voice is at its finest here. She shows it off more than usual, soaking it in some jazz-bar whiskey drink then letting it lose. It’s sexy, confident, and damn good. If you have any doubts thus far about the album, based on this review at least, then listen to this track first. You will love it.
For the majority of the album, Rachel’s musical skill and emotional precision is a blessing. There are a few times, however, where it’s simply too perfect. Furthermore, there are a few times when the emotions conveyed sound forced and, as such, hard to believe. This is most apparent on the track “Upper East Side.” The concept of the song, which focuses on the narrator’s love/hate relationship with New York City, is a compelling one. Anyone who’s been to New York City and experienced its hype, its fashion, and the whirlwind romanticism of it all will relate to the song without question. “I’m doing time on the Upper East Side/with all its romance, designer clothes & dogs/I could be pressed by all I ever wanted, but I am haunted by wanting to be free.” It doesn’t sound insincere, but it does sound forced. Musically, it’s a piano ballad that’s as smooth and pretty as satin sheets. Lyrically and vocally, the song is full of vibrato and flawless turns of phrase. What the song lacks is any hint of human imperfection which, ironically, is exactly what the song is trying to address. The lyrics capture a little bit of this, but they are delivered so flawlessly that they’re hard to believe. Furthermore, words like, “Tears soaked the news print” do not carry much of a punch and, to be honest, come dangerously close to schmaltz.
Regardless, this album should establish Rachel Zylstra as a musical force to be reckoned with. Each song is at once somber and joyful, flowing into the next like water. One can hardly listen to it without hoping, and believing, that the same ears and hearts that have been blown away by artists like Regina Spektor, Fionna Apple, and, as mentioned, Carol King, will hear Rachel in great numbers; enough to bring her to the next level in a very promising career.
Check out Rachel at: www.rachelzylstra.com
Justin Stover - Sounds Good Ink (Mar 30, 2010)