Well, lookie here, I've found another highly relatable post-breakup album. Unfortunately, this one came about 3 years too late. But you know, that's not Abra Moore's fault.

Honestly, I don't know what it is with me and breakup songs. I seem to love a lot of 'em despite being in a happy, healthy relationship. Especially when they're of the more introspective, "where did I go wrong?" mentality more so than the bitter, "it's all your fault, you suck!" variety. That type served its purpose for a while, but I've come to learn in a big way that you learn a lot about yourself from a failed relationship. Or at least ideally, you do. And judging from her latest album, Abra Moore seems to have been through one of those relationships. More than just a somber recollection of a love gone sour, though, Everything Changed seems to be one of those albums that uncovers subtle lessons as it sifts through the ashes.

Who is this Abra Moore chick, anyway? I really had no knowledge of her until this year, when her airy brand of singer/songwriter pop was recommended by a critic friend of mine. I figured it was worth a look, since the friend in question wasn't the type to listen to hooky pop albums very often. As it turns out, she's been at this for a while, starting her solo career in the mid 90's with more of a folk bent to her delicate pop songs, and moving through alternative rock territory, finally landing on the gentle but effective style that she showcases on Everything Changed. I remember seeing her name on a few CD's at the music store I worked at in the late 90's, but since I lived in a bit of a musical bubble back then and didn't really have the means to try things out that I do now (i.e. broadband internet access), I filed her name away in a list with thousands of other names and album titles I had seen that made me curious, but that I figured I'd forget about. I'm glad she came back to haunt me.

Apparently getting this album out wasn't an easy process, though. A quick check with her back catalogue shows me that Everything Changed is the first disc that Abra has put out in 7 years. More careful investigation uncovers an aborted album called No Fear, slated for release in 2002 but yanked by her record label or some other power that was. A grand total of nine tracks from No Fear were held onto - Abra clearly had faith in her songs and wanted them to be heard - and matched up with four new ones to create Everything Changed. And having heard those songs in both their old and new context, I think it was a wise move.

Throughout this cycle of songs, Abra explores a few different areas of personal loss and discovery amidst a semi-organic pop background likely to appeal to fans of Sixpence None the Richer, Lisa Loeb, Sarah Masen, Dido, The Innocence Mission, and maybe even Alanis Morissette - the newer, comparatively calmer Alanis, anyway. (She also reminds me of Christine Glass in a big way, but I'm willing to bet no one here knows who that is.) She reminds me of each of these artists in a different way, from the higher-pitched (and occasionally piercing), pixie-like vocals, to the simplistic relationship songs made more complex by subtle production tricks (which complement these songs without being overbearing), to the fragile, skeletal nature of the back half of the album that retreats more into folk and solo piano ballads. For sure, it takes a little getting used to if lilting girlie vocals aren't quite your thing. But all the same, this ain't teen pop by any stretch of the imagination. (Hence the lack of Liz Phair comparisons.) It's adult pop, and it can be sunny and na�ve at times, but within the greater context, I think Abra has discovered the correct time and place for such things. That sense of wholeness and continuity is what eventually comes forward to elevate this album above the status of "average pop record". And that's a big part of why I can relate to it even though I'm not in a similarly broken place at the moment. I've been there, and this record shines a positive light on the memories of being there.

I Do
But every face is a stranger, how can you know when to trust?
And all the stars in the sky can't make you remember why
And who could ever love you now?
The record starts out in fine fashion, with a sunny pop song that manages to retain a good deal of class. The soft call of repeating piano chords and a cornet (that's a horn-type instrument, I believe) draw you into the song, and the first taste of Abra's voice gives us a good idea of her range - she's got a bit of quirkiness that can be distracting at first, but is ultimately charming as she swoops to the higher notes in the chorus. It's a bit strange to hear how her voice wraps around lines such as "That tender taste that suckle on the vine", but overall, this song is still a solid opener. It starts us off with a positive, optimistic examination of love, not just giddy teenage love, but the kind of love that doesn't fall apart the minute you do something wrong. These are the words that we want to hear when we've messed up - "Who could ever love you now? Well, I do." And maybe we think this person who loves us is just foolish and unaware of the colossal mistakes we've made or the baggage we have to carry. But she's still there, having acknowledged those blemishes and assuring us that it's not going to stop her. It's a joyful song that kind of dances around its own lyrics as Abra stretches the phrase "I do" out into several syllables, and then a neat little horn fanfare comes in to spruce up the fadeout.

No Fear
So many lights now, they're calling me into the night.
So many strangers on this broken avenue...
The second track takes things in an unexpected direction, with more noticeable programming, a little bit of static, and seemingly atonal guitar chords creating a mildly acidic feel that ends up being a left-field hook for the song. Abra's verse melody seems almost completely detached from the guitar chords, describing a big and frightening world that's out there to be explored, and when the chorus chimes in, it's like she's stepped out of the haze and into the sunshine with a glimmering melody. The song unfolds carefully, as if realizing that speeding things up would have ruined the uneasy mood, but once it gets going, it's simply magical, with another delicious horn fanfare lighting up the night sky during the bridge as Abra's vocals shimmer and echo, pleading for change and a release from apprehension. It's almost as if the moral is being given before the story here, but perhaps it's the giddiness of falling in love that has propelled this desire to go beyond one's previous boundaries.

Big Sky
Close the door and shut off the lights
6 o'clock we'll be taking flight...
This is one of those zippy little love songs, perhaps the most upbeat track on the album, that seems almost too sugary to handle at first, but that eventually manages to win me over with its too-na�ve-for-its-own-good nature. The giddiness I mentioned in the last paragraph is in full swing here, as the electric guitars get revved up for a fun ride, and Abra shares the joy of a trip taken with her special man (maybe literal, maybe figurative). Her voice definitely jumps out of the speakers here when she hit's the chorus and wails, "So HIIIIIIIIGH! It's you and me and the big sky!" A few background vocals help her along, shouting things like "It's alright!" and basically helping to create a happy little world where her romantic fantasies are all intact. One can almost picture the guy with her, humoring her, but secretly staring off in another direction, bored, and wondering how much longer he can play this role and pretend that the perkiness doesn't bother him.

If You Want Me To
I've fallen in love with you
And it just burns, but what else can I do?
BOOM. Reality check. The first sign of conflict turns up here, and the timing is almost cruel, coming in the middle of a delicate snowfall of strings and keyboards. This song is a tasty smorgasboard of eclectic sounds, even throwing in a banjo at one point, and yet the beauty is dampened by what basically amounts to a request for space. "If you want me to", she assures him, "I'll walk away and forget the whole deal." Basically, he's revealed that he isn't so sure about her any more, and she's trying to cooperate with his need for some time alone and keep him happy, it seems, but inwardly, she's not happy about it. Clearly there have been some times in this relationship when "signals get crossed and love gets lost".

Taking Chances
I'm not sure if I really want to
I'm not sure what this all means
I just want somebody to hold on, to hold me...
A crisp, looping acoustic guitar strum leads the way in this deceptively simple song, which later unfolds into more of an edgy rock ballad type of thing. I'm not sure if the relationship suddenly broke off or if we've just jumped to a different point in the story, but either way, Abra seems to be on the prowl for someone new, and her earlier resolve to not let fear stop her is suddenly being taken to a questionable extreme. It's as if she wants someone - anyone - to talk to her, to spend time with her, to replace what she once had. Anything to avoid being alone! She seems to know in the back of her head that it's self-destructive behavior, but maybe it's become something she's hooked on at this point. It's tough to go without a significant other when you've been used to having one for so long and your dream romance crumbles before your very eyes. "I'm walking backwards into the future", she informs us in one of her more intriguing lyrical turns. Perhaps that means that she's got her eyes firmly focused on the past because she's not over her loss yet?

Melancholy Love
Well, I'll see you there in your midtown square
Well, I'll see you there and I just won't care
And I'll hold you down, but I'll never let you fall...
I love the way that the guitar chords are quickly strummed and the percussion (probably egg shakers or something of that nature) kind of swish around in this song - it's very much a "swept off your feet" kind of feeling that makes for one of the tastiest musical moments on the album. A lot of subtle tricks are employed here, from the subtle electronic bumping and skittering that serves as a counterpoint to the steady rhythm of the guitars, to the electronic tweaking of the vocals, replaying little snippets of Abra's words and adding just the right amount of artificial flavoring. This song seems to be the direct result of one of those relationships that she got in just for the heck of it - she's supposed to be in love and happy, but the question she keeps asking herself is "Can you tell me why I feel so sad about it?" Perhaps there's a little guilt mixed in there because she's given more of herself away to someone she doesn't really feel that connected to - she tries to shrug it off by saying, "We were running wild and young, it was only just for fun." It's a strange moment of realizing that how you feel isn't the way you believe you're supposed to feel about something, and as a result, you're just out of synch with everything that's going on around you. Yeah, I've been there too.

Family Affair
I think about the never-ending way that my day never seems to want to end
I think about the loneliness of losing a friend...
The record's first true ballad shows up here, and it actually kicks off a whole string of 'em, but let's focus on the song at hand for the moment. Percussion seems to all but disappear here as a simple, gentle piano takes the foreground, sketching out a basic 3/4 rhythm for the first song that seems to not be about one of her romantic relationship. The word "affair" may be a double entendre, because it sounds like her parents or another important couple within her family tree have fallen on tough times, and now one of them is thinking about leaving, and Abra is begging that person to stay. She sounds almost like an innocent child when she pleads, "We'll all get well, you'll see", and that line actually makes me wonder if there's a sickness in the family instead of some sort of infidelity. Either way, it's a sad but touching song that reveals a different kind of loss happening in Abra's life.

Pull Away
And who will we call at the end of the day?
When I check the machine, will it be your name?
And how will I know when to turn out the lights
Or save you a place forever?
Another slow piano tune follows - this time it's built on a sparsely played verse built on interchanging major seventh chords (and we all know those are the most gorgeous chords in existence). For some reason, I get a picture of sitting alone in a room on a rainy day while listening to this one. The reality is beginning to sink in that the guy Abra loves is gone - not just for a few days to think things over, but for good, and perhaps for the first time in a while, she has to face being alone. It's the little things in life that she previously took for granted that seem to scare her - the ways that the daily routine won't be nearly as exciting without him around. And she's trying to tell herself to "pull away" and stop obsessing over him - but mind over matter is not always an easy task. Since she managed to hook me with horns a few times earlier on, she decides to try her luck with it again here, giving this song's ending an almost regal feel with the lone trumpet, which seems to want to play a triumphant melody against the gloom. It makes for an interesting contrast.

The End
You've been telling me for a year now
How we don't get along
I'm starting to believe you
You're right, everything's wrong...
If it's raw, stark emotion that you're looking for, with nothing in the way to taint it, then this next song will probably be up your alley. It's nothing but the simple strum of a guitar, accompanied by a realization that comes in no uncertain terms - "This is the end, I just know it." The way she says "I just know it" is really more of a whisper to herself than a regular vocal line that gets sung, as if she's staring at the ground, unwilling to look the guy in the eye as he delivers the classic "It's not you, it's me" speech or whatever, and she's thinking, "Oh God, he's about to break up with me." It's not a loud or angry song by any means, but the emotion comes through in a naked moment where she simply sighs "Ohhhhhhh..." and just lets the note hang, but she's unable to sustain it due to the sadness that she feels, so it comes across as flat and broken. A little grating on the ears, to be truthful - it makes this sound like a demo cut more than anything - but those who value emotional transparency over pristine vocal performance will probably appreciate it for what it is. To me, it sounds a little off-key and it gets repeated too many times.

Everything Changed
I don't know when I'll ever love again
Got to slow down, you're moving too fast
Nothing will last...
As this song starts off suddenly but slowly with just Abra's voice and a piano, it starts to become apparent that the album is losing a bit of momentum in its second half. Not that I dislike ballads, but four in a row is a bit much when they transition from one to the other somewhat abruptly like this. The record's title track is actually one of the four new songs that Abra wrote after scrapping a few from the No Fear album ("I Do", "Melancholy Love" and "Pull Away" were the others), and it's the first moment where you get the feeling that Abra is truly alone. She's by herself, standing in the shower, crying, and trying to pull herself together. The sound of the song isn't overly depressing, but you can tell she's at a low here. And yet there's a comfort, a security there, some invisible thing that has caught her and won't let her go any lower. A glimmer of wisdom is coming through despite the loss, and in a moment of clarity, the realization seems to be hitting her - You know, maybe being on my own isn't so bad. And it dawns on her that she's got to slow down and take the healing process one day at a time, and learn to love herself before she can expect someone else to love her. Remember the unconditional love that she seemed so willing to give out in "I Do"? This song finds her just barely coming to a point where she can be on the receiving end of it, despite all those messed up relationships that have left her where she is now.

Paint On Your Wings
And the day turns into night as the light falls from your eyes
Taking away the cup that's keeping you alive
Done everything we could, it's time to stop trying...
This track is probably where Abra reminds me the most of The Innocence Mission, partly because of the detached nature of a lot of these tracks in relation to one another on a musical level ( a lot of them just kind of trail off instead of leading into the next in a logical way), and partly because of the sparse but quick guitar picking and the childlike lyrics. Once again, the focus shifts away from romantic love and on to family - she's saying her final goodbyes to her father, who appears to be succumbing to some sort of a terminal disease. While she seems to be holding back tears at times, you can almost see the smile on her face as she addresses him, telling him that "You're finally gonna know what's on the other side". She's found a willingness to let go and let nature run its course, even though earlier she was fighting the inevitable and insisting that he would get well. The way that she sings in relation to the rhythm of the guitar throws me off a bit, and as a result, I have a tough time really getting into this one, but I can tell that for some folks it's really going to hit close to home, and I'm glad that it offers a hopeful perspective on death as a transition into something better, instead of just a tearful farewell.

I Win
Something is filling my heart full of secrets
Something is filling my heart full of lies
Something is taking my lover for granted
Something is making me cry...
The last of six ballads shows up here - this one is also piano driven and also in 3/4, making it easy to confuse with "Everything Changed" and "Family Affair" at times. (I can understand not wanting to ruin the mood, but I might have interspersed the first six tracks with this string of ballads, at least a little bit, for better results, if such decisions had been mine to make.) Abra starts this song off with a curious statement - "Okay, I win, you've finally lost me". She seems to be contradicting herself, doesn't she? Well, this song is a world of contradictions, because on the one hand, she seems to be recognizing her loss as gain because she and this guy were miserable together, and on the other hand, she still has that desire to live in the past (as she cutely asks him to "Kiss me under the table", like they're little kids or something. Reminds me of a scene from Eternal Sunshine of the Spotless Mind - why does that keep happening to me during music reviews?) It's like she sees the wisdom in acknowledging that it's for the best and moving on, but translating from head to heart is still difficult.

Shining Star
What if I wish you, wish you well
What if I never, never sell
What if I keep your heart and pretend I can't tell...
I have to say that capping off the album with an upbeat song is one of the strangest things Abra could have done. It probably beats trailing off into nothingness, but it does create a bit of an imbalance in terms of how everything flows. This one is in the same vein as "Big Sky", though more acoustic driven, and sounding a tad bit older and wiser. The emotional separation is complete now, and this song is like more of an optimistic send-off to the guy. It might be based on a bit of a cheesy metaphor (I still have nightmares about the way Jump5 concluded an album with a cover of the Earth, Wind & Fire classic of the same title), telling him that "As blind as I am, as cruel as you are, you'll always be my little shining star". It's almost like she's looking back at him as a learning experience, something to draw from for the future, instead of an object of desire. It's a weird ending to the album, as the song fizzles out on a few stray guitar strums, but thematically, it works.

I have to say that Everything Changed makes a lot more sense to me now than it did at first - the melodies hooked me right away, but the lyrics, vocals, and the way that the whole thing came together took quite a few spins for me to fully "get it". Now it's one of my favorite albums to relax to on, say, a weekday evening, and I have the funny feeling that it would have been good to have around for moral support on some of those lonely Friday nights three or so years ago when I was struggling with a "pulling away" of my own. Better late than never, I guess. Good job, Abra. Now let's just work on that pacing a little more, and maybe you'll have a real force to be reckoned with next time around.

ALBUM WORTH:
I Do $2
No Fear $2
Big Sky $1.50
If You Want Me To $1.50
Taking Chances $1
Melancholy Love $2
Family Affair $1
Pull Away $2
The End $.50
Everything Changed $.50
Paint on Your Wings $.50
I Win $1
Shining Star $.50
TOTAL: $16

Website: http://www.abramoore.com

Recommended: Yes

Great Music to Play While: Reading or Studying