[rating=8.00]
Who is Jessie Baylin? Is she a country artist? Pop, rock, or folk? The only thing that’s certain is she can’t be pegged down. She’s got a gorgeous, interesting voice that’s flawed and magnetic, and on her new album Dark Place, she will almost definitely bewitch you. Her songs are like that – a bit magical, mysterious and sometimes strange.
The most shimmering song on Dark Place is “All That I Can Do”, and it’s a strong entry in this collection of tunes. Baylin takes her time, singing an almost a capella opening, sounding like an old school chanteuse with a soaring guitar melody in the background that adds richness to her sound. Her voice is like molasses, and never feels forced. She has a naturally dreamy sound that she uses to her advantage. Baylin doesn’t have a big voice, but she doesn’t really need to. Her vocal runs are so expressive and full of character. It’s difficult to even hold her up to another vocalist, because she just doesn’t sound like anyone else.
Baylin takes a much groovier approach to Place than her last record, 2012’s Little Spark. Particularly, the smooth and sugary “Kiss Your Face”, a sultry, synthy dance floor number is a major standout. It’s perfect for a little seductive swaying under a Technicolor disco ball. There’s a 1970s vibe to some of these songs, but they still feel modern and fresh. Baylin taps into this aesthetic just the right amount, but nothing on Place ever feels costume-y. “Do You Wanna Dance” has that old-timey dance hall feel to it, too, and maintains that retro tint Baylin has mastered here.
When Baylin sings, she sounds like she’s doing it for herself. She is unselfconsciously sexy and uninhibited; as though she just happened to walk into a recording studio as a detour on a moonlit walk on a beach somewhere majestic.
The most powerful song on Place is the heartbreakingly sad “The Ringer”, a lush song about the downfalls of a relationship. “You win some/you lose some” she sings in layered harmonies against a stunning background vocal melody of “oooh”s. There is something haunting and tragic happening with this song, and it’s Baylin at her best – smooth, smoky and warm, like a swig of bourbon. Her voice is just the slightest bit raspy, and that little touch is all she needs.
Dark Place delves into darker, deeper corners than Spark. “To Hell and Back” and the title track “Dark Place” both fine Baylin confronting personal demons and past pain. “I don’t look back/see straight ahead/I fell for you and then/the shame settled in” she sings on “To Hell and Back. She’s got some baggage, but she’s focused on what’s next, and that’s a thrilling perspective.
Baylin continues to grow as an artist, no matter what kind of music she’s making. Her sound is versatile and one-of-a-kind. It would be exciting to hear her really rock out, which she only truly does once on the most slow-paced Place. “Creepers (Young Love)” finds her blending her sweet harmonies with a catchy, synthy, electric guitar tune and it’s effortlessly cool. If Baylin has a few more songs like these up her sleeve, than I can’t wait for what’s next from her.
