Although her roots are in indie rock, Toronto-based singer-songwriter Jennifer Castle has more recently ventured into contemporary folk territory, and to considerable success. With her latest record, she continues to expand her sound and strengthen her songs; one track from the album in particular has given her a substantial boost in profile. Camelot is out now on 140 gram vinyl with a poster insert and on compact disc in a gatefold LP replica sleeve from Paradise of Bachelors.
Jennifer Castle’s last record, Monarch Season, was released four years ago. Featuring her alone on vocals, guitar, piano, and harmonica, it was Castle’s first release to be accurately described as a truly solo effort (and a fitting pandemic recording, although it was cut just prior to the outbreak). Contrasting, Camelot opens with vivid intimacy, Castle singing sweetly in the title track, her piano augmented by Evan Cartwright’s drums and the grand sweep of Owen Pallet’s string arrangements (performed by FAMES Skopje Studio Orchestra).
As noted above, Castle is a singer-songwriter, but “Camelot” is decidedly Singer-Songwriter in approach (reminiscent of those records of yore when an undersung performer landed a sharp producer and a budget). But for the album’s next song, Castle scales it back to just voice and guitar, and yet the sturdy coffeehouse strumming of “Some Friends” registers distinctly from the more fragile indie folk aura heard on Monarch Season.
The drums swing back in alongside Mike Smith’s bass in “Trust,” setting in motion a warm pulse that culminates in a subtly pretty crescendo. “Lucky #8” follows with a full-band melodic rock thrust that’s topped off with sharp jangle-chime guitars; when the solo lets loose, it brings to mind Lucinda Williams from back in her Rough Trade days.
Returning to the tempo of “Thrust” and with Smith’s distinctive bass providing the bedrock, “Louis” begins as a tough shuffle that hints at Tim Buckley, at least until another string arrangement bursts forth. What’s impressive is how Castle’s presence as a singer and lyricist doesn’t get overwhelmed in building memorable songs, a balancing act that applies to “Full Moon in Leo,” where Castle’s voice gives a vibrant and instrumentally rich track a country-rock twist.
This vibe carries over into the equally energetic “Mary Miracle” before a shift of gears and a switch back to piano for “Blowing Kisses,” which is the track that has brought Castle a greater level of exposure through it’s inclusion in the TV series The Bear. It’s a fine song, bringing to mind the air of melancholy that distinguished the work of Chan Marshall circa The Greatest, but it’s to Castle’s credit that it’s not the runaway standout on Camelot.
Going it again in spare folk mode with “Earthsong,” Castle extends and greatly expands upon this structure in the album’s gorgeous finale “Fractal Canyon.” Camelot finds Castle and her co-producer Jeff McMurrich wholeheartedly entering the post-indie singer-songwriter zone with a work that’s accessible while not allowing any blandness to set in.
GRADED ON A CURVE:
A-
