Cons: Too many collaborators, too boring, much too flat. Not at all entertaining.
The Bottom Line: What in the world happened to Beth Orton? Daybreaker leaves me with an uneasy, disenchanted feeling. Hopefully her quality hasn't gone the way of the dinosaurs.
Beth Orton’s voice is always unique and always highly refined. Her songs on the other hand don’t always come across so well. I on the whole have found her music to be good, but each of her preceding albums was marred by the occasional misstep. These issues had only minor effect on the releases, but in the case of Daybreaker this is not the case.
Daybreaker is probably average in the overall scheme of things. But when compared to Orton’s truly exceptional moments of yore it also is severely disappointing. I’m not sure what I expected with this third full length release from Orton. I knew I was to get a neatly produced and evocative album, but based on the slight inconsistencies in both Trailer Park and Central Reservation I recognized reason for concern. And when it was all said and done, Daybreaker left me with the distinct feeling that I was trapped in an elevator listening to Muzak. See, the songs themselves sound good but they almost are all of the same pace, feeling, and sound. Nothing irks me more about an album than a lack of spark and a distinct disregard for creativity.
Of course, Orton does try a bit harder here and there. Title song Daybreaker is the best song of this 2002 disc. It returns for a moment to the electronic and more textured elements that Orton was known for on her previous efforts. But with the added layers of strings, drums, and the like her music seems somehow more mature. This lack of electronic instrumentation is also what unfortunately sinks most of Daybreaker. Whereas previously her flat voice was augmented by the unpredictable and sparkling layers engineered melody, the organic guitars and beats and the like don’t work as well.
In addition to the title track, I find myself enchanted slightly by the acoustic stylings of Carmella. But when it comes to the appropriateness of the sound to the voice, I can’t say I’m at all impressed. Orton doesn’t have a traditional “great” voice. It is very breathy, very flat, and very grating if not properly supported. Daybreaker doesn’t support her in the least. Even Emmylou Harris’ vocals and Ryan Adams’ guitar don’t make God Song anything of note. In fact, the song itself is boring and lasts for much too long. It leaves me hoping, praying for an end.
And since Orton also serves as producer the blame must all be set upon her shoulders. The album is too highly refined, too predictable, and too full of collaborators. One or two guests are definitely welcome. But add in a whole slew (including Johnny Marr, Ben Watt, The Chemical Brothers, William Orbit, and so very many others) and what you get is a mish-mash of falsely complex and not at all cohesive music.
I find it impossible to speak to the songs individually. Those I haven’t mentioned are all pretty much identical. A slow-to-mid-tempo with Orton slowly crooning just over the top. Toss in light percussion here, a horn and/or set of strings there, and VOILA! Instant Beth Orton song! Needless to say, I’m not at all impressed by the bulk of this disc. Hey, but if I can say at least one good thing about it, it would be the fact that Daybreaker is brief. So brief in fact that a listener need not pay actual attention to the mushy collection of songs. Paris Train, Concrete Sky, Thinking About Tomorrow--heck I could easily name all the songs and just as easily forget that they existed.
Daybreaker is particularly painful in light of Orton’s previous outings. Central Reservation is her best album to date. I can’t help but completely love Stolen Car, Sweetest Decline, Love Like Laughter, and Devil Song. And while Trailer Park isn’t quite as good it too provides raw entertainment in the form of She Cries Your Name, Sugar Boy, and Live As You Dream. Funny thing is that Trailer Park suffers a similar fate as Daybreaker. As Trailer Park nears the end it too gets stuck in a musical rut. Daybreaker unfortunately is stuck in that rut from start to finish.
As much as I appreciate Orton, her unique voice, and her usual songs I can’t possibly recommend Daybreaker in light of her other works. The funny thing is that I think maybe Orton too sees the fault in her third album. Earlier this month, a remixed edit of the disc became available. Since I wasn’t at all impressed by Daybreaker, I probably won’t pick up Other Side of Daybreak. And unfortunately, I’m not sure if I’ll ever pick up another album from Orton.
Rating: 2/5 stars
Track Listing:
01. Paris Train
02. Concrete Sky
03. Mount Washington
04. Anywhere
05. Daybreaker
06. Carmella
07. God Song
08. This One's Gonna Bruise
09. Ted's Waltz
10. Thiking About Tomorrow
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