Dawn Landes – ‘Fireproof’ – Album Review

Fireproof has kindled two very bewitching elements of Dawn Landes’s heritage and upbringing, evoking another wave of nostalgic folk resistance that has broken the niche boundaries of her new adopted home.

Born in Louisville, Dawn’s traditional folk roots may have been deracinated and laid amidst the New York’s anti-thesis of an ‘anti-folk’ scene, but they have remained pertinacious yet absorbing to their surrounding influences.

This, the songstress’ second full-length album, cascades with the virgin qualities of astute grassroots folk clarity; yet it has been washed over with a beguiling symposium of melodious indie-pop ambiguities.

As a body of work, Fireproof has many captivating and endearing qualities: Landes’ ability to lyrically acquaint one’s self with the listener through her angelically delicate vocal deliverance of personal reflections and emotions are undoubted a drawing influence; however, it is the overall dexterity and artistic treatment of every song that leaves the album thoroughly arresting.

Having honed her skills as a recording engineer by day having worked with the likes of Ryan Adams and Philip Glass, Landes has managed to transcend these aurally judicious talents into the production of her own self-penned work. With this, Fireproof has a personal quality that many a musician should aspire to achieve with their work: the sense of what has finally been produced still has the original essence that which it was born with, and left untouched by external studio hands.

The tracks have a playful facet of serenity that build and break with the lyricism of a spirit that is free, philosophical and earnest within its expression: “Bodyguard”, “Tired Of This Life” and “Goodnight Lover” typify Landes’ ability to acquaint and captivate the listener with personal notations of empathy arousing sentiment, making Fireproof alight with a talent akin to the likes of Cat Power and Regina Spektor.

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