Rufus Wainwright: Atmospheric and Eclectic Modern Pop/Rock/Folk
Written: Jun 16 '03 (Updated Aug 02 '04)
Product Rating:
Pros: Incredible recordings and arrangements...
Cons: Probably a bit too dark and theatrical...
The Bottom Line: Pulling from a variety of influences, Wainwright cobbled together a diverse and magical album. Definitely worth checking out, but no guarantees of satisfation.
lambchops's Full Review: Rufus Wainwright by Rufus Wainwright
Even without his notable musical pedigree, Rufus Wainwright would still be a very deserving recording artist. There is no use in questioning natural talent. His brand of music is what is often referred to as “chamber pop.” Simply put, it is a kind quaint pop with luscious melodies and thoughtful lyrics meshed with rich textures. Each of these descriptors applies perfectly to Wainwright.
The New York born son of folk singer-songwriters Loudon Wainwright III and Kate McGarrigle, Wainwright uses alternate sources for inspiration. Certainly, he owes something to particularly theatrical pop icons like Freddie Mercury and Randy Newman. But there are also strong tendencies toward unexpected genres like opera, classical, and cabaret. The end result is most easily classified as “chamber pop” (for reference, Belle & Sebastian also fit this mold) but is also unique to Wainwright. And after just two albums, he has proven that he has something important to say to and about the world.
Wainwright was lucky when it comes to scoring record deals. He didn’t particularly struggle, rather through a series of events his demo tape ended up in the sweaty palms of DreamWorks executive Larry Waronker. The rest is history. Rufus Wainwright recorded and released his self-titled major label debut in 1998. That album earned him a spot on annual top ten lists by The New York Times, Entertainment Weekly, The New Yorker, LA Times, and Washington Post to name but a few and Best New Artist by Rolling Stone. Even with all of the critical support, I still was relatively leery about Wainwright. Critics only get it right about half the time.
Returning to the studio, Wainwright recorded and released his 2001 sophomore effort Poses. That album too was rather well received. Time will tell if his third album, expected this fall, will be as compelling. And considering mainstream producer Marius DeVries (Björk, Madonna, Cranberries) was at the helm and word on the street (okay, from the horse’s mouth) is that it is a bid at mainstream success, there appears to be some question about the validity of this upcoming yet untitled album.
But even if Wainwright never duplicates the brilliance of the debut, the world will still be the better for having him in it. Rufus Wainwright is really that good an album and artist. Without hearing his music, readers will have a difficult time fathoming the aural intensity it exudes. Also problematic is putting the richly layered textures to words. Even before I finally picked the album up I’d read many a review, and got the idea that Wainwright was worth hearing but I really had no idea about the actual nature of his music until I experienced it first hand.
Imagine for a moment that you are in a room. There is very little light, and one man sitting astride a dusty piano. A single light bulb highlights his profile. The music begins. But much to your surprise, there are other instruments scattered about the room. You pick up a guitar and begin to play. Other people step out of the darkness and join in with a flurry of orchestral instruments. You open your mind. The purest of beautiful melodies floods your ears. You have stumbled upon the most perfect of joys.
Wainwright may lack the feverish furor that most modern singer-songwriters ooze, but this is also what separates him from the pack. This is also the reason why many people find his music to be a little trite. However, I maintain that listening to Wainwright’s debut is both inspirational and invigorating. I find myself cherishing each of the twelve songs a little more with every listen.
Wainwright wrote all of the songs, including Danny Boy. His performance of that song is unique. Danny Boy is in fact one of the album highlights with typical Wainwright arrangement in the light, free flowing melody. It is incredibly raw, emotional, and trips along with the familiar Wainwright flair. It's gorgeous.
Speaking of evocative songs, I must address the wonder of Foolish Love and the many songs that follow. Wainwright is by no means a novelty act. He’s a mature, theatrical, and gifted artist in every sense of the word. Taking what can only be described as poetry and setting it to a melody; he is able to gently stroke the soul. Foolish Love is straightforward enough. With just vocals and a piano, the song progresses brilliantly.
But the self-titled debut is so much more than just a song or two. Consider a moment a few of the brightest stars of the album: April Fools, Beauty Mark, Matinee Idol, and Millbrook. Each of these tracks brings to the table a different facet of Waintwright. One moment he’s the exuberant singular reincarnation of the Beatles (April Fools) while the next he turns to toe tapping musical theater for inspiration (Matinee Idol). I can’t help but adore the ebbs and flows of this intricately crafted album.
But there are other songs that need mentioning, most specifically those leaning toward the darker corners of the soul. Baby, Barcelona and In My Arms are all incredibly appealing tracks. Baby is one of my favorite offerings of this stupendous album. Darkly wistful, the track is on some levels simple. Wainwright and a piano in an intimate setting, it is in many ways an updated kind of Sinatra. But with this singer-songwriter at the helm, it is definitely slanted toward appealing to more adventurous listeners. Barcelona is also a painfully delightful track. Wainwright possesses the keen ability to dig deep into his soul and transmit his most buried hurt to listeners. This track is one excellent example as is the equally moody and atmospheric In My Arms.
Wainwright is much more than a fascinating, touching recording artist. He is a writer. His words (like these from April Fools) permeate my every pore:
So let it all go by looking at the sky
Wondering if there are clouds and stuff in hell
Rufus Wainwright is an excellent album, though it will not appeal to all listeners. Wainwright is theatrical and probably could be considered a bit pretentious. He is also exceedingly dour even when he’s making a bid at being upbeat. While I love this album, I’m not sure everybody else will. But give it a chance…the pay-off is worth the challenge and trouble.
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