Over the years, smaller independent record labels have shown the way in promoting stunning, and distinctive new talent. In more recent years; with the advent of the internet and the increasing tendency of the larger record labels to appear to invest almost exclusively in mainstream pop acts; some quite extraordinary musicians have chosen to 'go it alone'. A not so recent example that shines like a beacon for other artists today is America's Ani DiFranco, and more recently UK's White Buffalo (with their fabulous debut album WAITING TO GO HOME).

Jennifer Terran from the States has taken the same route and in this, her third album, she makes pretty clear her thoughts on her music and the industry she's involved in (and much more). Terran is another extraordinary USA singer/songwriter and THE MUSICIAN places her firmly in the top echelon of her craft. Critics have said she's better than Amos and DiFranco. I can understand the vective - how can you describe something that is indescribable (although I do admit to a smile when I read "I'd give a million Dido albums for this one..." in The Sunday Times)?; that is unusual yet totally compelling? I would rather say that Jennifer Terran is different. Vocally and musically, I feel she bears a fleeting resemblence to Jane Siberry - but better? Surely that's not the point. What is important is her music and how successful she has been in creating an album which resonates, moves, communicates, inspires, and endlessly entertains. And it doesn't take long for this record to confirm her talent and enormous success in achieving these criteria. It's a rare feat.

With the opening song, Liberty Lunch, I am taken by the simplicity of piano and a vocal quality which communicates with major expressive power, and sincerity. As this beautiful song develops, the atmosphere builds with additional string instrumentation and gathering, soaring vocal harmonies. Add a tangible melody and wonderful lyrics, and you have a song that moves like a force ten hurricane. The narrative nature of the album becomes clearer through the following track, This Recording, with the opening lyrics providing the important clue: "By the time you hear this recording, I will have moved on, seasons will have changed, But the past is ever flowing - and sad beauty wants to star...." The overall tone of the song is more upbeat, even a lttle optimistic - the artist at a younger age with more hope. less fear. The Painter 'adds meat to the bones' in that the song expresses beatifully and optimistically, artistic ambitions inextricably linked to qualititative and incisive personal performance criteria. "Understand...I'm not sad, and this feels good, and someday, I'll be heard, there's an urgency for expression - it's the instinct, it's my progression - it's my meaning."

Mad Magdaline, is the turning point in this story that so easily could represent life itself (and even the sleeve notes include a graphic barrier to the second segment of the album). The opening line, "An exective was killed, Not by a thrill, But by the churning of one girl's dream, She had a purpose in heart, and a permanent part, in the sickness of the music scene..........It started with those demo tapes, she sent him....." says it all. The song sheds some of its previous melodic and lyrical sensitivity, but sincerity and expressive quality remain, together with a real sense of anger. The bluesy gospel vibe of Sweet Life signals a more contemplative album segment where Terran begins her journey in life and love; appearing allegorical to finding her music. For Terran, love and music arrive together; they are one and the same thing. Imagine a film which starts with a catestrophic event and then travels back in time to the events leading up to it. To me, this is what happens here.

Sounding A Simple Chord points to a loss of 'musical innocence', "Why did I feel so old, Where did I go? I used to be moved to tears, By the sound of a simple chord, It was sweet....I felt free." Hearing this, one feels the pain and frustration of having to 'turn a buck' to survive, and walking away from one's emotions, beliefs and truths. Terran's fragile high-pitched soprano voice takes me in the direction she wants, so powerful is the drama and expression of it. The story then takes one back to her childhood memories with sweet melancholia of Emotional Laxatives, and onto the fearful wonder of puberty with Skating. I get the feeling that for Terran this has been a voyage of discovery; dipping into her past to find the answers; after finding a soul mate who cares enough to encourage and support that quest, and help provide the confidence to move forward.

So how does it all end? I feel rather like a film critic who can describe parts of a film but has to adhere to the unwritten rule that the ending should not be revealed. However, what I can reveal is that you probably won't have heard anything like this before, and that it's an essential journey that you should embark on. It's also likely that you will learn something about yourself in the process - a sort of music therapy. What Jennifer Terran has achieved with THE MUSICIAN is to use the art of music in perhaps its purest form, and because she has an abundence of vocal and writing talent, she has been able to pull it off magnificently. Instrumentation (including Terran on her beloved piano) is minimalist, while production provides a vibrant, earthy live perfomance ambience.

This is remarkable pop music, and one of 2002's few essential albums. Terran has just started her European tour and it's well worth visiting her web site (www.jenniferterran.com) to find out the when and where. And now I'm off to find her two previous albums.....

5/5