KAREN ELSON - THE GHOST WHO WALKS - THIRD MAN/XL

this was written for SUBBA-CULTCHA, and can be found >>here<<

Nashville brands itself all over supermodel Karen Elson’s debut LP. With husband Jack White as drummer and producer, will she survive and prevail the Third Man treatment!??

The album starts out with title track ‘The Ghost Who Walks’, and immediately establishes terrain that is typically vintage and full of haunting imagery. Swathes of Jack White can be heard throughout the song, and indeed the whole LP, which is clearly and comfortably in Third Man territory, but it would be plain rude and wrong to overly associate the prolific guitar maestro with this record. Yes, the individuals are spilling over the edges; Jackson Smith (of Patti Smith) even plays guitar, but I think there are enough signs on the record that Elson has come some way in launching her own musical self.

Karen Elson’s previous musical outlet was through New York City cabaret The Citizens Band, which she founded along with, amongst others, Rachelle Garniez, who appears on this record playing accordion and singing backing vocals. This has clearly informed her solo style, which is full of shady fairground sounds and tales of horror, sleaze, and melancholy. However, this is heavily juxtaposed with a delicate folk orientation, mainly controlled by her understated and fragile voice. In this vein, it is obvious to see a massive PJ Harvey influence in the guitar orientated structure, and minor key nature of it all. Furthermore, ‘Stolen Roses’ could be the doppelganger of Nick Cave’s ‘Where Wild Roses Grow’, which are strangely identical. Elson even sings, “I’ll go where the stolen roses grow”!

Most interestingly though, is the old style country tendencies that shine through and adorn ‘The Ghost Who Walks’, much like Jack White’s cohort Holly Golightly. She wails and shakes those sweet Nashville notes the way Emmylou Harris does, whilst retaining the pop accessibility of Peggy Lee.

‘Pretty Babies’ and ‘Garden’ are perhaps the most electrifying and exciting tracks on the album, which both mix all of Elson’s aforementioned styles to the greatest effect, producing elegant and mysterious modern day country pop hits. ‘Pretty Babies’ also displays the most comfortable fusion of Jack White’s pompous hi-hat action with Elson’s subtle melodies.

‘Mouths To Feed’ is an epic and emotive ending to the album. Inspired by author Tim Egan’s dustbowl saga, The Worst Hard Time, it not only reveals the depth in Elson’s voice, but her moving capabilities when she sings like she really means it.

The fake American accent is a bit irritating, although probably integral to her sound, and the album goes on for about 2 songs too long, but overall this is a confident debut from someone who’s past tempts her to fail.