‘It’s always cold in hell/I have felt it/I can tell’
‘It’s always cold in hell/I have felt it/I can tell’
‘Are you not in love with what you do? Are you not aware of what you’re capable of? Are we just a victim of ourselves? Shall we turn around an make it better?’
Pure Air is an album of covers and re-workings and I like to call it a gift to the fans. Not many other artists would release an album like this, and hardly any of those would put much effort or love into it. This however is full of both, and indeed exceeds her first album. If her upcoming new album is as good as this we’ll be in for something special. My gripes here are small- there are some re-workings of songs I didn’t like too much- I would have preferred versions of Ice Water and Sunken Soldiers Ball instead of say Witnesses and Day After Yesterday. Some have complained about the male vocals on a few songs and I admit that I felt the same way at first. I have since come round and now quite enjoy each new guest singer. Again, and this is totally personal, I would have preferred an Alanis song like Unforgiven or Wake Up which I think Anneke would be excellent at, and although I like her version of Power Of Love here I can’t help but wonder what her version of Jennifer’s Rush’s Power Of Love would be like. Majestic, I presume. All that aside this is a beautiful album, packed with emotion, brilliant songs, wonderful cameos, and more greatness from Anneke.
`Blower’s Daughter’ opens the album- a cover of the already perfect Damien Rice song. Anneke sings the song well, but it isn’t as good as the original. She sings with emotion, I just don’t think anyone could equal Rice’s. Perhaps it would have been better if she had done it in a more fragile voice, still good, just not as good as I thought it would be when I first saw the track list.
`Beautiful One’ is an acoustic version of the first song from Anneke’s first album. The music is softer, less complex, and less intrusive allowing more space for Anneke’s voice to shine. Her vocals are strong here, but I have the same feelings here as I have about the original in that it becomes repetitive. I believe this version is better though.
`Wild Flowers’ is a cover of a Dutch song by FRANK BOEiJEN This is what the album is all about- simplicity, subtlety, Anneke and a guitar, and when it works it is breathtaking. Wild Flowers follows this, a beautiful song using lonely, fragile flowers as a metaphor for whatever you like. It is highly melodic and suits Anneke’s voice perfectly, sung with a fleeting sadness, a gentle melancholy.
`Day After Yesterday’ slows things down, another acoustic version of a previous album track. The main problem here is that both versions are quite similar so an acoustic version doesn’t really add anything. A toned down Sunken Soldiers Ball would have been more different and exciting.
`Come Wander With Me’ is also similar to the first album version, but it was already a much better song than Day After Yesterday. Anneke again sings it beautifully and it is a joy to hear a slightly different take on it.
`Valley Of The Queens’ is a cover of Aeryon and is another strong song. It’s arrangement does manage to evoke feelings of a time long past. The flutes here serve the song brilliantly and along with the background strings it strives for a mystical tone which it doesn’t quite manage. That doesn’t matter though as it remains a great song, and quite different from the original.
`To Catch A Thief’ is my favourite song here, a duet with John Wetton from Wishbone Ash/ Uriah Heap. There are so many varying melodies in the song, excellent lyrics, and Wetton’s gruff vocals act as a good counterpoint to Anneke’s. I would like to hear her sing this with someone else, but I don’t have a problem with Wetton as some do. The lyrics speak of a broken relationship, of the swaying back and forth. I’ve always felt that this song has some sort of post modern Western feel, like Cowboys in the future or something.
`Ironic’ may be my least favourite song on the album, not that there is anything wrong with it, I just prefer the original and think Anneke could have sung it with more power. Like I said earlier Ironic is not one of my favourite Alanis songs and I would have liked Head Over Feet. The song is quite sparse with Anneke’s voice (accompanied by a male singer) drowning out a very soft guitar- even without her singing anywhere near her best.
`What’s The Reason’ is another cover, a gentle, melodic love song dealing with confused thoughts. Anneke only comes into the song in the second verse, the first part sung well by Niels Geusebroek. The following harmonies are made to sound like the couple have been doing duets for years, and the backing guitar follows the voices beautifully.
`Yalin’ is almost identical here to the original, another strange choice when she could have picked another song and drastically changed it. I suppose that was never the point of the album, but this almost sounds like a copy and paste rather than a re-recording. Still a good song though.
`Somewhere’ is a song by Within Temptation, starting with the fragile, heartbreaking vocals by Sharon Den Adel. Already an excellent, Anneke joins in giving a more powerful, emotional blast. The song sounds like it should be on the credits of a film, possibly one about lost love. In fact, I can’t help thinking that this song should be used for a missing kids campaign. As silly as that sounds it is sure to stay with the viewer/listener. With its tender nature and ghost like vocals it is a song that you are unlikely to forget. Sharon is probably the best suited singer I’ve heard with Anneke so far, recorded and live.
`Witnesses’ is a much softer, cut down, and haunting version of the original but it may be the weakest song on the album. It doesn’t particularly offer anything exciting, but it does leave a strange feeling with you after it ends- perhaps it would have had more power if it had been a hidden track at the end.
`The Power Of Love’ shows one of Anneke’s greatest strengths- her ability to turn songs that I never liked before into ones I love. I still don’t like the original version, but I now have a greater appreciation of the lyrics and emotion behind them which Anneke brings to the forefront. This is quite a soft and quiet take on the song, mostly led by the vocals with the guitar barely noticeable in the background giving a atmosphere similar to Tori’s Me And A Gun but without the horrific themes.
Overall this is the classic `solo’ or non-Gathering album her fans hoped she would make. It showcases all of her best qualities and features some inspired collaborations. There are many classic moments here, and when they come they are exquisite. For me the album could have been even greater if it had a few different song choices, but as I’ve said before the songs I don’t like here may be someone else’s favourites and are probably Anneke’s. And who am I to argue with genius?
After explaining that she left The Gathering so that she could both concentrate more on her family life and explore more of her own musical ideas, Anneke Van Giersbergen’s first album had a lot to live up to. Since leaving it seems she has been busier than ever, with 3 albums released to The Gathering’s one, and various guests spots and joint albums. I never thought that The Gathering would be a constraint on any member’s ideas but then I’m speaking as an outsider, and at some time or another an artist needs freedom to do exactly what they want to do. Which brings us to Air, Anneke’s first album with new band Agua De Annique. If you’re a Gathering fan you find anything particularly new or shocking here- it could almost be a Gathering album, only lacking the spacey guitar work and more complex songs of that band. Anneke is on fine form (she always is) and the album has the same quiet, at times gloomy, and understated feel that recent Gathering songs have had. The rest of the band all do their jobs without anyone standing out so it is clear this is Anneke’s show. She wrote most of the music and lyrics, she plays guitars on a few songs, and her voice soars and softens in all the right places as we know it does. There are a few classic songs, a couple which I feel could have been left off the album, but mostly it is a good first album. Given the pressure and expectation she was probably feeling from fans and from within it is a triumph and a sign of hopefully greater things to come.
`Beautiful One’ starts the album with trippy bleeps and a swirling guitar riff before Anneke begins to sing. Essentially a love song, but can also be read as a song to her new born, the lyrics are full of sadness and regret the emotion from which powerfully comes through in the chorus vocals. The verses I have found slightly repetitive due mostly to the guitar riff and the fact that the song appears both here and on the follow up in acoustic form. The bridge spices things up a bit with different guitar work and typical Anneke vocal acrobatics before the chorus crashes in again. A good opener, but personally I don’t listen to it that often anymore.
`Witnesses’ is a song dealing with the intrusion of religion into our lives, especially if we don’t want it, supposedly based on a real life experience. There is a swirling, building quality to the song with instruments, sounds, and vocals all growing towards the `chorus’. It is quite fast and rock driven compared to other songs on the album. I like the little guitar part before `you save the world from me’. The song doesn’t particularly show off her skills as a singer, but definitely showcases her growing talents as a lyricist and diversity as a song writer.
`Yalin’ is a slower, softer song where we hear Anneke’s control over her voice, from delicate and soothing yet full of varying emotion. Lyrically she seems to be singing about the loss of a friend and only realizing their importance when it was too late.
`Day After Yesterday’ is for me the partner to Beautiful One in that I enjoyed it for the first few listens but gradually became less enamoured with it. The song is piano led and has a clear sense of solitude, evoking feelings of wandering around an empty airport or being trapped alone in a house while it rains outside. Cliched feelings from me yes, but that’s the most simple way I can put it. It is another good song and I can’t find anything wrong with it, I must prefer Anneke when she’s more up-tempo. The melodies aren’t as memorable as some and it has a rather somber ending.
`My Girl’ starts with a more upbeat sounding intro reminding me for reasons I have yet to understand of JJ72. The verses are interesting with staggered vocals and music. It is a song I usually forget about but when I hear it again I love every second of it. I like the harmonies towards the end, the guitar work is interesting, Anneke seems to sing with a reverb effect adding to the overall tone of coldness and detachment.
`Take Care Of Me’ begins with soft, somber strummed chords before Anneke’s voice joins in to echo the downbeat nature of this love song. For a song about love and helplessness with quite joyful and bright lyrics it has a dark tone of despair throughout with all those minor chords. It is a very short song, reminiscent perhaps of something by Nick Cave or The Smiths.
`Ice Water’ is where the album really kicks into gear with a soft introspective intro, before bursting into chorus and growing from there. The violins add greatly to the tone of the song, the best moment of the song and perhaps the album being Anneke’s final two `Burning Away’ lines. Her vocals are never stronger than here on the album, the growing instrumentation makes it a highly emotion song, and I particularly like the two guitar parts before those final lines. It is these powerful moments which confirm that she is without any doubt the greatest singer of her generation.
`You Are Nice’ is the heaviest, fastest, most rocky, most fun, and probably most silly song on the album. Basically an outburst of lust that a thousand fans will wish was directed at them. The riff is slinky, Anneke sings alongside it in her most seductive tones before breaking into pure erotic screams.
`Trail Of Grief’ calms things down with another piano/percussion led song, beginning softly before the crushing centre part with Radiohead style guitars, heavy beats, and typical Anneke notes. It is another strong song only let down by lacking a truly memorable melody.
`Come Wander With Me’ certainly makes up for any missing melody, a cover of a beautiful song Anneke makes this the definitive version. Her voice is wonderful, the guitar is haunting and simple. It is one of the best songs on the album, and one to play to any friends to prove Anneke’s greatness.
`Sunken Soldier’s Ball’ is my favourite song on the album combining Anneke’s powerful vocals with her softer side, wonderful melodies, nice guitars, personal lyrics full of imagery. It is the one song that will stay with you after the album is over. Anneke’s vocals over the chorus are heart-breaking reminding us again of those moments where she has us in the palm of her hand (see middle part of Waking Hour on The Gathering’s Home for possibly the best example). I wish she had included this song on Pure Air as I’m sure an acoustic version of this would be heavenly goodness.
`Lost And Found’ again showcases above all the vocals, but I love the piano interlude between first and second verse. Still the tone of loneliness pervades all, except here it is a group feeling, a feeling of security shared amongst the lonely ones. It is a surprise when the guest vocals kick in, they offer a different, sweeter, almost childlike quality. This song reminds me of the song Home from the last album, and ends with a bluesy, Lenny Kravitz riff which should be played loud.
`Asleep’ closes the album, a lullaby to her son, a goodnight song to her fans which reminds me again of a couple of Radiohead songs. With it’s flutes and gentle guitars and vocals it is rather lovely. It is a warm song to fill us with security and a sense of belonging, that after all the despair and confusion of previous songs things can actually be pretty good sometimes.
As I said at the start this is a good album which misses out on being great (for me) by having a few songs which can get repetitive or (too strong a word) boring after a while. Of course this is subjective and the songs I don’t like as much may be someone else’s favourites. It is a consistent album in tone and feeling, something which few artists are able to accomplish and overall proves that Anneke may have left The Gathering but that she hasn’t left us.
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