By AARON KREIN
Arts Editor
After 14 years of fans patiently waiting, the third studio album by singer/songwriter Michelle Branch has finally been released. After abandoning a fully produced album and record label in 2015, she joined Verve Records for a fresh start on a new set. Produced by Branch’s boyfriend and The Black Keys’ drummer Patrick Carney, these songs see Branch experiment with current sounds but also giving fans a taste of her vintage sound.
The album opens with her promotional single, “Best You Ever,” which was released last month. The tune focuses on Branch leaving a rocky relationship in which she tell her ex that she hopes he’ll think of her as the best lover he’s had. The dark and moody guitar along with the consistent drum tapping makes the song catchy with it’s anthemic lyrics. It’s hard not to sing along to the “oh whoa” chant in between choruses. The song is very Alanis Morissette “Jagged Little Pill”-esque with its unapologetic vengefulness but the same frustration as her classic, “Are You Happy Now?” It’s a great way to open up an emotional record.
The funk kicks in on the sassy track, “You’re Good,” in which Branch reminds her lover that she knows he’s right for her despite what her friends says. Like the title track, “Hopeless Romantic,” the song experiments with different dark tones and sounds unlike her previous music. However, the timbre of her vocals reminds me of the “Hotel Paper” era. Despite being a beaten to death subject, the production and vocals are what save this generic track from being a skip.
“Fault Line,” which was the last promotional single released from the album, returns Branch to her adult contemporary roots and slow-paced vocals. Branch laments that she knows that she and her lover argue constantly and that it won’t be changing anytime soon. In a sense, it’s lyrically similar to P!nk’s “True Love” since it talks about the mistakes in a relationship and getting used to the fact that this who they are as a couple.
The silver lining of developing feelings for someone who doesn’t love you back is front and center on “Heartbreak Now.” The uniquely-written track focuses on knowing that “you can’t help who you love” and to accept it as just another memory in your life. You can definitely hear the country influences from her past work with The Wreckers, especially in the soulful background vocals and euphoric production. It’s definitely one of the standouts from the album and i’m hopeful this radio-friendly track will be the next single.
The title track, “Hopeless Romantic,” which I previously reviewed, is still as catchy and poetic as the first time I heard it earlier this year. The bluesy yet contemporary production mixed with Branch’s vocals full of mysticism makes for a memorable track focused on the frustration of falling in love with someone so easily.
“Living a Lie” sees Branch’s lover being dishonest with people about their relationship and how she tells him that people will eventually find out the truth. The tune definitely gets some head nodding with its steady Fitz and the Tantrums’ “Hand Clap”-like production but falls short in a few areas. The chorus and even Branch’s delivery seems a bit dry to a song where you think it would be more lively. It’s not a bad track but it’s not one of the most memorable either.
Finding who you are as a person to the discretion of your lover is the subject of “Knock Yourself Out,” which has a country-blues yet contemporary pop production. The guitar-driven track with its incorporations of the organ and layering of background vocals reminds me of early 2000s Sheryl Crow. Interestingly enough, Branch opened up for Crow on her “C’mon C’mon” tour in 2002 which did have a stop at the then-named Pepsi Arena here in Albany. The positive message behind the track prevails and will stick with listeners well long after completing the album’s full rotation.
Deceiving someone of sexual tension for love is followed on “Temporary Feeling,” where Branch wants to take a relationship slowly despite putting on a different facade while getting intimate. It has a fine mid-tempo drum-led production, but sounds too similar to “Best You Ever.” It’s definitely one of the poppier tracks, with it’s calypso-like moments during the chorus. I can understand why someone would like this track but for me, I can’t get over the similarities.
On “Carry Me Home,” Branch spends the night with a man in which she compares the tranquil experience to being intoxicated. Similar to Avril Lavigne’s “I’m With You,” she tells him she’ll go wherever with him and thinks she’s in love. It’s an adorable track with the vocals, lyrics, and production all up to par with each other. The song itself feels like a story and makes you want to follow it to the end to see if she does end up with the guy.
Finding nothing positive from her first love, “Not a Love Song” has Branch remind her ex that he’s not worthy of a love song. It’s one of the more in-your-face tracks on the album while also remaining a great sing-a-long anthem, especially during the chorus. Many might think of Carly Simon’s classic hit, “You’re So Vain,” while listening but with a more contemporary pop-esque facelift. It’s another track that I could see easily being a single serviced to AC radio.
The most upbeat track on the album, “Last Night,” has Branch generically telling her lover that they’ll live life together like it’s the final day of their life. The song lyrically is basically Alicia Keys’ “Like You’ll Never See Me Again” meets Carly Rae Jepsen’s “Making the Most of the Night.” It has a catchy chorus but falls short of stacking up against any of the highlights on the album. It should be noted that the track was co-written with John Shanks, who was responsible for a few tracks on Branch’s debut album, “The Spirit Room.” One of which was “Everywhere,” her biggest hit to date.
“Bad Side” appreciates what society would feel is wrong in a relationship over a rockish modulated beat. It’s like a positive version of Eminem and Rihanna’s “Love the Way You Lie.” The odd take away from the track is that the verses themselves are catchier than the repetitive chorus, but still make for a fine tune.
The emotions of two lovers switch on “Shadow,” where Branch’s man is the one overwhelmingly unsure about the relationship this time. The chorus and the Echosmith “Cool Kids”-reminiscent production make for a unique and suspenseful tune.
“City” closes the album on an highly emotional note, owning up to the fact that no matter where she goes, her past catches up with her. The haunting production mixed with the backing vocals by Carney showcase Branch at her peak with her transparency with fans. This song perfectly ends an album that reads as an authentic look into the singer’s life that weighs the highs and lows of her life so far.
Overall, after a long wait, I thought this album was great besides a few tracks that were either fine or just not my style. I loved the fact that the album had a consistent sound, although some of the tracks felt to similar, which gave a lacking to their identity. Branch has publically stated that she’s proud of this album and you can tell by listening to it that this is who she is now compared to her major label days of the early 2000s. If you have any desire to listen to the new set, give it a chance or at least listen to a few highlights.
