Erja Lyytinen - Another World

I’m on record as having been less than impressed by Erja Lyytinen’s last album, Stolen Hearts - unconvinced by the vocals, and by the quality of some of the songs.  So I didn’t exactly approach her latest album with a gleeful disposition.  Then the PR bumf talks about Lyytinen explaining that “The album title is the idea of stepping into a new territory, musically and spiritually.  Walking towards a new land of musical ideas, not being afraid to express myself.”  And I think to myself, really?

But you know what?  I do believe the lady may have a point.

On Another World Erja Lyytinen largely eschews her blues background, and instead explores a more prog-rock oeuvre, with some folk song underpinnings.  The end result may not be entirely consistent, but boy does she sound more comfortable.

A worldly wise shift in direction from Erja Lyytinen

The sense of something different is apparent right from the first track ‘Snake In The Grass’, with an intro on which competing guitar lines from Lyytinen and former Michael Jackson collaborator Jennifer Batten trill like bagpipes on helium over some meaty chords, leading to Lyytinen delivering a polished melody with vocals stronger than I’ve heard from her previously.  The overall effect is a kind of glittering proggy pop, in the manner of  Steve Morse’s “other” outfit Flying Colors, perhaps.

I dunno what a ‘Cherry Overdrive’ is, but the track progresses nicely from a subdued, tense opening to a tougher chorus, and offers neat flourishes of instrumentation and back vocals en route to a moody and shimmering middle segment.  The title track sounds like it has folk song roots, but with major electrification and the injection of some big chords, and while the song isn’t hugely original – and suffers from some adolescent lyrics – Lyytinen adds a solo that fits the bill, ahead of a funky closing section and some further pleasingly twiddly guitarwork.

At which point it’s clear that credit is due to the production, by Lyytinen herself, and to the mixing by Austin’s Chris Bell, which give a satisfying depth and modern sheen to the sound throughout.

The first half of the album concludes with ‘Hard As Stone’, which again appears to have folk song roots – we’re talking European folk song roots here, in case you’re in any doubt, not Dylan – with a stuttering verse and a simple melody on the chorus.  Lyytinen’s solo is a slow burn, demonstrating good control, topped off with some double-tracked lead guitar as it develops into a quicker section.

The latter half of this eight track outing is less robust, but there are still things worthy of attention. ‘Wedding Dress’ is a bluesy shuffle that may be a bit inconsequential, and with some corny lyrics to boot, but it’s approached with gusto, and between Lyytinen and guest Sonny Landreth there are some tasty slide guitar tones to the fore.  ‘Miracle’ has a subtle, restrained arrangement with some interesting rhythms from Ipe Laitinen on drums – but never clever-clever – and nice interplay between Lyytinen’s guitar and Tatu Back’s bass, before a well-structured guitar solo built out around some intriguing motifs.

Lyytinen brings some violin playing to ‘Torn’, another folky-prog outing that brings to mind the likes of Renaissance – a bit weedy for my tastes, but well executed if you like that sort of thing.  Meanwhile the closing ‘Break My Heart Gently’ is a reflective ballad, simply constructed – a bit repetitive, if one wanted to be harsh – but with its weeping slide guitar tones courtesy of Lyytinen and Landreth once again, it offers a satisfying enough dying fall.

Have I become an Erja Lyytinen convert then?  No, I haven’t.  But that’s not the point.  I think that with Another World Erja Lyytinen has found herself, and taken a big step in a direction that suits her.  What she does next could be interesting.

Another World is released by Tuohi Records and Bluesland Productions on 26 April.

Erja Lyytinen - Stolen Hearts

First impressions can be lasting, for good or ill.  In this case, my first exposure to Erja Lyytinen was on some covermount CD with a magazine, and it didn’t float my boat.  So has Stolen Hearts forced me to reassess that view?  Well, yes and no.  It’s a curate’s egg of an album, good in parts.  And while some of it has grown on me, I have to say that once again my first impression wasn’t positive.

Now I know Lyytinen’s main USP is supposed to be her prowess on slide guitar, and on that score she may well do a bang up job.  But that’s not my issue.  It’s her vocals that leave me underwhelmed.

Erja Lyytinen slip slidin' away

Pic by Laurence Harvey

Oh she’s tuneful enough.  But for me her voice lacks character and heft most of the time, with a tendency to throw in an irritating yelp into the bargain.  As someone who really responds to a singer who can genuinely sell their material, that’s a problem for me.  And I could maybe shake off my doubts in this respect more easily if Lyytinen’s songs convinced me more, but to my mind some of the material on Stolen Hearts comes up short too.

The opening title track is a pretty pedestrian affair, with a typically average vocal, eventually enlivened by some sprightly guitar harmonies, followed by a fiery solo that seems to rouse all concerned to kick some ass.  The following ‘Rocking Chair’ is a similarly mixed bag.  It’s got a persistent driving riff, and a pleasing slide solo which has a hint of effects to give it a fresh sound.  But the melody and lyrics are prosaic enough to make me think it might have been better as an instrumental.

‘Love Laboratory’ and ’24 Angels’ are similarly bland, though at least Erja and chums find their funk feet on the chorus of the former – as they do to better, more consistent effect on ‘Lover’s Novels’, with its hooky ascending/descending bass line.

Don’t get me wrong, there’s some decent stuff on Stolen Hearts.  But it doesn’t really get on a roll until the halfway point of the 11 tracks and ‘Black Ocean’, which has a stronger vocal to go with an appealing guitar sound and a strutting riff, plus a garnishing of organ and an extended guitar workout that more than stands up to scrutiny.  ‘Slowly Burning’ maintains the momentum with a decent attempt at something soulful and smouldering, benefiting from another more convincing vocal.  And ‘Silver Stones’ is something different and delicate, with a pretty tune and some similarly pretty guitar sparkling throughout.

Last but one track ‘City Of Angels’ hits the mark too, building from a subdued opening with ripples of piano and judicious guitar licks, through vocals that have a rhythmic conviction and occasionally hint at the more gripping moments of Alannis Morrisette, with some well sung long notes at the conclusion.

What’s left is unremarkable fare though, so that to these ears the strike rate of the songs falls short of what’s required for a genuinely convincing album.  I’ll admit that it has made more of a positive impact with repeated listens, but on the whole I still don’t anticipate pressing the play button again on Stolen Hearts very much in future.  Those first impressions have still to be overturned.

Stolen Hearts is available now from Tuohi Records.