The return of Chan

"I Do not Blame You": A few piano notes and a voice to be found, after nearly three years of absence: Chan Marshall brush opening portrait of a tortured musician, but it carries so much compassion she might as well come to terms with the world, with a lost love, with yourself, listener immediately struck by the unique emotion that emerges from this album. This is an acoustic guitar (meaning that the wood is dry) and intense that supports the following title: "Free", a title that crackles like a campfire under the stars and in which Chan questioned his condition, obviously difficult, musician: "Do not be in love with the autograph / Just be in love When you love that song all night long." With "Good Woman" Chan is accompanied in the background by a choir of children that makes it look like his song a sort of Gospel Folk particularly sincere and moving. On "Werewolf", his voice echoing in the night, supported only by haunting strings. Sometimes that is the most striking gravity which calls around the fire, like "He War" or even more, "Names," a terrible complaint that says more in a few notes and a few words on childhood misfortunes, a long tirade with lyricism. Because here everything is perfectly balanced, measured and worked, among an often slow and gaunt music and sip a voice of emotion, between a drive to the remarkable spontaneity and clearly artist arrived at maturity, and the auditor has largely for money (as they say). And it only remains to wait for the return of Chan in principle programmed before the start of next year ...