[rating=8.00]
Following the 2008 release of Katie Herzig’s third solo album, Apple Tree, it seemed that she was poised to break through into the folk/pop stratosphere. She wrote two songs with Americana gem Kim Richey, brought in Aaron Johnson (The Fray) to help produce, she was heavily backed by Paste and American Songwriter magazines and she was the main opening act for Brandi Carlile’s extensive North American tour. Even though the record had some fairly average melodies and few songs that really stuck to the ribs, her charisma and careful selection of singles, matched with a fantastic backing band, helped push Apple Tree forward and outward. The stars appeared to be aligning for Herzig, and the follow-up Acoustic Trio live album only further cemented her rightful place as an emerging singer-songwriter.
What seemed like an easily traceable trajectory then veered slightly off course, as Herzig took on quite a few commissioned assignments for TV and film, such as Grey’s Anatomy, Drop Dead Diva and Sex and the City 2. Perhaps it was the structured writing that resulted in such a shift in focus, but Herzig soon dove into constructing tracks digitally, using beats, loops and samples to build up her songs. What became especially intriguing was the melding of programmed sounds with acoustic instruments, creating a synchrony of the live and studio worlds.
The fruition of these efforts is her latest record, The Waking Sleep. From the moment opening track “Free My Mind” begins, it’s clear that the game has truly changed and that Sleep is an innovative approach for Herzig stylistically. What’s striking, however, is that what’s experimental about the album is its dance-pop accessibility. The balance, though, between sticking to her roots and selling out à la Liz Phair is carefully heeded, with Herzig coming across as both re-inventing herself and remaining authentic. Concurrently, she’s adjusted her lyrical focus from constant introspective musings to reflections on universal world issues– a welcome change, as Herzig is rather hit-and-miss when chronicling relationship woes. Also, to a certain extent the genre(s) of music that characterize The Waking Sleep fail when too heavily laden with introversion and self-examination. Her decision to write about situations and themes that exist outside of her specific perspective help further liberate the songs and give them a buoyancy that in turn strengthens the album.
Not enough can be said about the immediacy and mirthful exuberance of this record, which was not necessarily the logical extension of Herzig’s career. Earlier songs like “Hologram” and “Sweeter Than This” demonstrated her ability to write catchy, engaging songs, but these were often lost among ballads and midtempo folk numbers. The fact, then, that The Waking Sleep is so rhythmically minded and percussive is even more thrilling, because it finally sounds like a space in which Katie Herzig is shining. Her vocals are uncluttered and the strongest she’s put on record, and there’s just a palpable joy to her performance. Songs like “Way To The Future,” “Free My Mind” and “Wasting Time” showcase melodies that are indelible and vivid, leaving the listener no choice but to tap their foot and sing along.
The main weakness of the record is how top-heavy it is, with later songs such as “Closest I Get” and “The Waking Sleep” feeling incomplete because of their quieter, more ethereal sound. “Oh My Darlin’” is most reminiscent of Herzig’s earlier work, but it unfortunately comes across as somewhat of an outtake from both this record and Apple Tree’s sessions. “Lost and Found” is decisively anthemic and most evocative of Coldplay– a band whose sound is thankfully mostly absent from The Waking Sleep. This song somewhat resuscitates the lighthearted energy of the album’s first half, but it’s unfortunately not enough to live up to the earlier spirit.
Much applause is needed for producer Cason Cooley, though, because he helps keep Herzig on point and also provides a cohesive skin to the entire album. While the second half may be more atmospheric and subdued, the writing is certainly better than average and Cooley keeps the landscape of sounds intact, so there is definite coherence and unity across the album. Also, the wide range of instruments and beats used gives The Waking Sleep muscle and a compelling variety that keeps the listener interested. There are plenty of strings to go around, but they’re never too offensive or overwrought.
Katie Herzig has finally delivered the album she’s always hinted that she was capable of making since going solo in the early 2000s. The Waking Sleep is not just a step forward, because in many ways it’s a quantum leap into the territory of a maturing, talented singer-songwriter. This is her most consistent effort yet, and the process of building the songs up from programmed sounds reveals Herzig’s deft architectural hand, and the fact that she’s chosen bouncy, spirited and cathartic as her palette further bolsters the album. The next step will be learning how to incorporate lyrically the more intimate and raw moments of introspection, but this is an admirable first step in the right direction.
