Beth Orton - Daybreaker

Beth Orton
Daybreaker
Astralwerks
Grade: A-

The newest superstar rocks the musical spectrum on Daybreaker. Lauded by everyone from Moses to Ryan Adams, Beth Orton demonstrates here that she is a force to be reckoned in the near future. This is Orton's third full-length, the first two, both critical acclaimed, Trailer Park (1996) and Central Reservation (1999). This British subject took the musical world by storm on her first two albums and she looks to slay all naysayers on Daybreaker. Orton grabs the acoustic guitar and provides the vocals, while being supported by a full array of musicians (providing everything from the basics to strings and electronics). Taking a page or two from Sarah McClaughlin and Bjork, yet writing her own legend, Orton's songs are uniquely characterized by her warm yet aggressive vocals and vocal range. Besides a wide and exceptional array of musicians, Orton also recruits the Chemical Brothers, who she has a long history with, to engage in some producing.


The opening track "Paris Train" sets the listener up for it is what to come, yet you are still ignorant about what's going to unfold. "Paris Train" merges the simple songwriting of Orton with full orchestral strings, creating an uplifting effect of epic proportions. On "Concrete Sky," Orton enlists rock's other newest superstar Ryan Adams to duet, mixing together into a tremendous chorus. (Contrast this Adams with his other appearance on the Black Flag tribute album, wow!). While these opening numbers excel in the own right, along with the bizarre Vegas-like context to "Anywhere," a few later numbers are the true gems. "Carmella" demonstrates Orton's vocal prowess and songwriting ability. This is just pure excellence. It is one of those songs that you hear and just feel good and start to reminisce about time past. On "God Song," Orton channels the souls of past magical female singers like Joplin or Mitchell in its intensity. This may be due in part to EmmyLou Harris providing tasty vocals on "God Song." This songs meanders along a path of love and faith, and as a special treat Adams provides some backing singing towards the end. Closing the record is "Thinking About Tomorrow," which comes on as a slow, creeping electronic caterpillar, before Orton's voice takes over and drives the train.


This is unconsciously one of the best records of the year. The amount of complexity and depth on the Daybreaker is astounding and it will take at least twenty listens to begin to wrap you head around the genius. Orton has made me a true believer of her ungodly musical talents.