Opposites attract. This fact is often a governing principle in relationships, as well as the magnetic properties of certain minerals. But is it true for musicians as well? Can two seemingly dissimilar artists successfully unite to create compelling and melodious music? When the combination consists of former Screaming Trees and Queens of the Stone Age vocalist Mark Lanegan and former Belle and Sebastian cellist/vocalist Isobel Campbell, the answer is an easy yes. Their latest release "Ballad of the Broken Seas" is proof enough.
Since leaving that Glasgow pop collective, Campbell has released a sole solo effort: 2003's "Amorino." Her partner for "Ballad," conversely, is more accustomed to flying solo. In addition to Lanegan's participation in the two aforementioned rock outfits, he has released numerous solo efforts since the early 1990s. And with the newly formed Mark Lanegan Band, he has recently released the "Here Comes That Weird Chill" EP (2003) and long-playing "Bubblegum" (2004).
Whereas Campbell's solo material is much akin to her work with Belle and Sebastian in both mood and sound, Lanegan's solo albums are fundamentally different from his early work. Lanegan has consistently forged a sound independent of the influence of his other musical endeavors as a solo artist. He delivers acoustic-focused Americana as a soloist, a stark departure from the rock proclivities of both Queens of the Stone Age and Screaming Trees.
While both Campbell and Lanegan are both seasoned musicians, each having their own established sound and form, it is Lanegan that most noticeably informs the stylistic aspects of "Ballad of the Broken Seas."
The opener "Deus Ibi Est" ("God is there" in Latin) sets the precedent for the album both musically and lyrically. It is an allusion to "Ubi Caritas et Amor," a Gregorian chant sung on Holy Thursday in the Christian faith. Lanegan spouts acutely solemn lyrics against acoustic guitar and a steady drumbeat. The song would evoke a singsong feel if not for Lanegan's gravelly voice and serious tone dampening the mood. Meanwhile, Campbell intersperses Lanegan's narrative with the chorus, almost as if it were dialogue. Her voice is ethereal and fleeting, a gossamer whisper against the backdrop of an equally ephemeral cello.
But from then on, the listener can expect the rest of the songs on the album to be similar in instrumentation and form. Each singer's voice is accompanied by a specific instrument; for Campbell, it is cello, and for Lanegan, it is guitar.
This is especially true on songs like "False Husband, The" and Hank Williams cover "Ramblin' Man." The songs are perfect examples of the intertwining singing pattern and representative instrumentation heard on "Deus Ibi Est," which are themes throughout the entire album. Although the harshly opposite sounds of the two artists are tuneful and intriguing, it is a shame that they are so predictable and mildly overused.
Even a quick scan of "Ballad of the Broken Seas" reveals that the album is more the brainchild of Lanegan than Campbell. The self-absorbed, self-deprecating lyrics and the prevailing acoustic feel of the album indicate Lanegan's dominance.
And perhaps it's better this way. That's not to say that one can deride Campbell as musically inept because of Lanegan's primacy on "Ballad of the Broken Seas." Rather, if the two artists' sounds had been more contradictory when recording the album, their duet could have been more interesting.
Campbell's impeccably-timed cello trills add a moving quality to Lanegan's depressing and pessimistic narratives, and her singing with Lanegan on "Come Walk With Me?, (Do You Wanna)" is not only integral, but simply beautiful. Her presence is of the utmost importance on "Ballad of the Broken Seas." Without her, the album loses half of its attractiveness.
Although opposites may attract, it might be better that they don't. Compromise is essential in any relationship; this time around, Campbell has allowed Lanegan to take the limelight. Perhaps, if the two were ever to decide to record a follow-up duet, audiences could expect a more Campbell-esque sound, and a true duet from the artists.
