Vanessa Carlton

With: Joshua Hyslop

“A Thousand Miles,” her first single, was one of the biggest songs of 2002, topping the pop charts in America and cracking the Top Ten in England. Carlton continued releasing albums into the following decade, fine-tuning a sweeping, cinematic pop sound that featured her vocals and piano skills at the forefront.

An unusual light shines through Liberman, Vanessa Carlton’s fifth album. Its ten songs, built on ethereal melodies and lush orchestration, seem to climb out of the shadows, each resonating with a sense of haunting positivity.  The opening track, “Take It Easy,” instantly sets the tone, inviting the listener into a sort of sonic euphoria: each note and lyric thereafter builds on that aesthetic, creating an ongoing narrative that unfurls over its classic side A and side B.

“It’s a calm record,” Carlton says. “I didn’t want any angst in there. I thought, ‘What would I want to hear back? What would make me feel better in my darker times?’ Even a phrase like ‘take it easy,’ which is in a million songs, brings happiness. This album leans toward seeing the good in humans and in the world.”

Carlton began writing in the summer of 2012, beginning with “Unlock The Lock,” an evocative piano-driven track that set the tone for the songs to come. She’d recently finished touring 2011’s Rabbits On The Run, an album conceived through inspiration from Stephen Hawking’s A Brief History of Time and Richard Adam’s Watership Down. Carlton found herself in the desert and the song emerged, reflecting a newly revealing songwriting sensibility for the artist. “I imagined a group of people listening to it,” she says. “It was the first time I ever wanted to make something like séance music – something that would make a human brain feel at ease, something that would feel right in an everyday ritual. I also realized I wanted the record to be really soothing lyrically and not so much a reveal of me.”

The musician followed that thread as she continued writing for the next year and a half, this time inspired by books like Joseph Campbell’s The Power of Myth and Aldous Huxley’s The Doors of Perception. Carlton’s primary influence, however, was a colorful oil painting by her grandfather Alan J. Lee, who was originally named Liberman. The painting, created in 1963, hangs in Carlton’s home and showcases three woman captured in swirling pastel colors. She wrote many songs while looking at the image, eventually deciding to call the album after her grandfather.

“The swirly colors of that painting reminded me of the music and the music reminds me of those colors” Carlton notes. “Then I looked up what Liberman means and it’s ‘honorable man’ and ‘my beloved’ – all these things that just felt right to me. It’s a strong family name that, in a weird way, describes the music to me.”

As a whole, Liberman feels like a new chapter in Carlton’s storied career, revealing new facets of her musical skill and instigating fresh inspirations. Stagnancy, she knows, is the antithesis to creativity.

“Martin Scorsese said sometimes your greatest challenge is not your failure but your success,” Carlton says. “In a way I was able to persevere after having a success out of the gate and figure out a path that feels really pure to me. But I had to create this environment where I felt comfortable changing. When I was first doing records I was so young and I wanted to please everyone. But now I sort of feel ancient and I love it and I just want to make art for its own sake. Whether I fall on my face or not at least I know I did it. Everything I’ve done and everything I am is there in the songs.”

For tickets and information: www.evenko.ca  514-790-2525 or 1-877-668-8269

www.vanessacarlton.com

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