Sarah Slean
Night Bugs

THE REVIEW

2002 : While a certain Avril Lavigne was dominating the charts with pointless little songs about skaterboyz and teenage stories, just a few meters away, another Canadian was releasing "Night Bugs," an album (first on a major label after 2 independent EPs), which rightfully enters among the most underrated of the decade that's about to close!

Creative Sarah, a 360-degree artist full of endless resources, (singer, songwriter, composer, pianist, actress, photographer, painter), is part of that circle of personalities, never too much in the eye of the storm, dedicated to that female singer-songwriter genre with an omnipresent piano, in the style of much more renowned names like Tori Amos, Kate Bush, Fiona Apple, and Regina Spektor. These latter comparisons often lead to encounters and ritual criticisms about the supposed lack of personality in the proposal every time a product of this kind is released. Understandable, and sometimes even true, if it weren't for the fact that in this case, the then 25-year-old Sarah, knows how to -while staying in the same field- offer something fresh or at least different from the respectable aforementioned colleagues.

11 Classy Compositions, with irresistible charm, wrapped in a nocturnal and dreamy mood, as the cover alone might easily suggest; great songwriting talent, unpredictable solutions in arrangement, extremely expressive voice, enviable mastery of the instrument and impeccable conduction of the strings-brass sections are the cards the Canadian puts on the table. She probably doesn't have the same writing skills as Tori, or the bizarre eclecticism of Spektor, but there are many, even too many to mention all of them, good things about an album that critics and customers have warmly welcomed!

The majestic "Eliot", with virtuosic solos and epic choruses, is only the calling card of a work that in a rollercoaster of emotions continues on high levels for all its 45 minutes of duration. A work that undoubtedly deserved greater fortune: although it garnered a decent following in Canada (the only country where the release was licensed), and some tracks were used in low-tier TV shows like Smallville and Dawson's Creek (not exactly ideal for someone who makes art a reason for living), guaranteeing her visibility (and sales) on average, the same cannot be said for the dear boot, where, just as back then, compatriot Avril was making a sensation on our charts, currently pathetic reality-style projects are ruling the roost, contending for the top sales spots, and stealing the scene from those who seriously deserve it: the moral of the story, Sarah with her immense quality, here with us, is a true unknown. Whether this is an advantage or not is up to you, but fortunately, I'm always open to novelties, and novelties abound in a track like "Weight", which among electronic drums, enchanting vocals and pulsating bass riffs, skillfully supported by a soundboard vaguely reminiscent of Radiohead, still manages to get on repeat rather than continue playing!

Equally valid is the delightful "Duncan", which among orchestral scores, xylophones, and emphatic vocal lines, rightfully stands among the highlights of an album where it's really difficult to find higher peaks.

And while many offerings from the movement, beyond the undeniable talent, can become a bit heavy over time, the same can't be said of Slean who, making her chameleon-like nature another of her strong points, manages to be easily digestible even to those unfamiliar with the genre: she can effortlessly move between different contexts: just think of the classically styled interlude "Dark Room", the jazzy overtones of "Book Smart Street Stupid", and the melodramatic atmospheres of the delicate "St.Francis" (the latter very closely reminiscent of the recent efforts of colleague Hanne Hukkelberg).

There are also more pop moments, such as the single "Sweet Ones" (that even the most hardcore blacksters may unconsciously know, due to the intro used in a recent iPhone commercial), and "Drastic Measures" two excellent tracks that thanks to working choruses, and well-curated arrangements, supported this time, in addition to the indispensable strings and piano, by Peter Seminov's violins, will rarely tire.

There is also room for dark influences on the gloomy "Me, I'm A Thief". The ballad "My Invitation" and "Bank Accounts", an uptempo with vibrant and vivid tones, relying on a very engaging motif, and closing in the best way possible this must-have platter, are also convincing.

"Night Bugs," currently remains the highest peak in the career of this intriguing singer-songwriter, who, though possessing a discography worthy of respect, has slightly waned with more recent "tepid" releases. She still has time to make up for it!

Highly recommended.