After making her listeners wait for seven years, Suzanne Vega has finally released her new album "Tales From the Realm of the Queen of Pentacles." Some big names in music - like bassist Tony Levin (of Peter Gabriel and King Crimson fame) - contributed to Vega's new effort, and their own individual styles are audible in Vega's new sound. Vega hasn't been resting over the last few years; she proves that she has been experimenting with different styles and genres. Fans of her older work will still find traces of her unique timbre and literary lyrics in "Tales From the Realm of the Queen of Pentacles." But her audience can also clearly hear that she has stepped out of her comfort zone and added new layers of sound to her pop-folk style. Vega surprises in this album, inviting listeners of other genres to try her music.
The album opens with "Crack in the Wall." At first, Vega provides her fans with what they are expecting: her gentle voice and folk-pop guitar loops. When the song shifts to the chorus, with the lyrics "and so and so it goes," its tempo rises and a more country-inspired instrumental background appears. Even in the very first song of the album, the listener experiences a rich instrumental base and fusion with different genres.
Following "Crack in the Wall," "Fool's Complaint" is reminiscent of Vega's penchant for literary lyrics as well as the interesting role of storytelling in her songs. The track starts with the line "How I hate the Queen of Pentacles" - a reference to the album's title. With this second song, Vega explains to her listeners the tarot card reference behind her title choice. She showcases her symbolic storytelling by using the cards as a background story, with lyrics like, "My card's the fool / That merry rootless man." In "I Never Wear White," Vega reveals her darker side, setting a gloomy tone. The song opens unexpectedly as she sings, "I never wear white / White is for virgins / Children in summer." As the track goes on, the tone remains grim, and her lyrics continue to compliment a dark and repetitive guitar riff.
After "I Never Wear White," comes the two highly contrasting highlights of the album: "Portrait of the Knight of Wands" and "Don't Uncork What You Can't Contain." The former is a song which Vega's fans are used to; it showcases her mellow timbre and is accompanied by a gentle, melancholic acoustic guitar progression. But, "Don't Uncork What You Can't Contain," is an abrupt shift with a much more playful tone and upbeat tempo. The real surprise is Vega's sampling the opening of 50 Cent's "Candy Shop" (2005). Throughout the song we repeatedly hear snippets of "Candy Shop" - which may seem to some like a huge contrast with Vega's musical style. Interestingly, the samples from 50 Cent blend in well with the track - which is already a hybrid of various genres, incorporating elements rock, country, and Middle Eastern music.
Overall, Vega manages to present an interesting collection of songs to her listeners who have waited so long for a new release. Her latest album is certainly innovative, and it is clear that Vega has been pushing herself to delve into various musical genres and to experiment with perhaps unusual sounds. Although this record is significantly different from her previous work, it is still quite familiar, as both her unique voice and narrative-driven lyric style remain dominant in the album's songs.
