She flew onto our radar (like a bird) in 2000 with her debut album Whoa, Nelly! Which went platinum around the world thanks to the monstrous success of her hit single I’m Like Bird.
Like so many female artists it did not take too long for her sweet and innocent imagine to change. As she grew into the artist she is today her songs became more provocative at times (Promiscuous Girl and Maneater), working with the industry’s top producers from N.E.R.D to Timbaland. Since her last release in 2012 entitled Waiting For The Night however she had almost disappeared, only to announce her return to music this year with her new project Pipe Dreams.
Furtado’s co-visionary for this record may come as a surprise to some, as John Congleton is well known for his indie rock productions. His catalogue of past collaborators prove that he is certainty not a one trick pony however, Black Mountain and Erykah Badu have both received guidance from him during their careers. From the opening track Cold Hard Truth there is a clear sense of a clean pop aesthetic, with a hint of the unusual thanks to Congleton. Until the sixth track Sticks and Stones there is a barrage of disappointing pieces, opposing forces between the vocals and the backing make listening through a struggle. Some outright ugly sound design on Flatline and Live mask Furtado’s vocals which are also not her most impressive, influences from bland soft-rock and cheesy 80’s pop also help to spoil the introductory section of the album. Paris Sun is a total disaster, the vocal sounds as if it is in a different key to the accompaniment, which is a tough listen alone.
Sticks and Stones begins to paint over the cracks, a catchy riff balances out a catchy repetitive chorus. The drum track and arrangement are chosen perfectly, almost as if you are listening to a different artist. This momentum continues as the subtle vibe of Magic and Pipe Dreams ooze from the speakers, her vocal harmonies and cadences finally have a chance to breathe and the outcome is stunning. Palaces and Tap Dancing showcase two very contrasting energies, with the latter being a much slower affair. Her voice is definitely the album’s highlight so far, avoiding auto-tune and over processing to let her natural tones take centre stage. Something that has definitely been considered on the record’s outro Phoenix, an ambient piece that even Kate Bush would be proud of.
With so many perfect pop tracks under her belt it is unsurprising that Furtado and Congleton wanted to try something new, especially after so long out of the game. Something about their musical relationship has just not worked for the majority of this release, even if there are a handful of brilliant moments. Her angelic vocals fail to make up for Congleton’s strange production techniques during the album’s first few tracks, but as it develops you begin to forgive their early mistakes. Fans of her earlier work will appreciate the return to some softer pieces, but anybody hoping for more club-friendly R&B tracks to dance to may feel disappointed. Come and hear it at your local Richer Sounds today to make up your own mind, as long as it is the second half of the album!
