ALBUM REVIEW: Erin Harkes - Blue
Photo by Kiki Vassilakis
“I am about to go rogue and review a record that my boss put out a couple months ago. (And let the record show, I was not held at gunpoint while doing this.)”
Being a publication that features so many local musicians on staff, we have a lot of internal discussions around “nepotism,” and we go out of our way to walk an appropriate line. Most of us actively resist accepting coverage for our own projects for fear it would come off as icky. There’s also the other side of the coin — as one of our staffers once eloquently put it, “Why should my band be punished just because I’m part of a publication that covers local music?” As artists, we all want the best coverage we can possibly get for our work that we’ve put so much of ourselves into. It’s only natural.
But yes, it’s a conundrum. I’m sure we don’t always get it right, but I can also assure you everything we do related to staff members’ projects is treated with the utmost care, caution and fairness. I say this, if you weren’t already aware, because I am about to go rogue and review a record that my boss put out a couple months ago. (And let the record show, I was not held at gunpoint while doing this.)
Before we dive in, there’s one more thing I ask you to consider. If you’re at all involved in the local music scene, you probably know the name Erin Harkes. That’s before she revitalized the publication you’re reading this review on. She writes, she performs, she does stand-up and she of course runs this nonprofit publication with a steadfast determination to bolster our glorious artistic community at all costs. If you knew how she operated like I do, you would rightfully wonder how she has time to eat, let alone time to promote and solicit press for her own album. For anyone who’s ever tried to market a new record, you know how time-consuming and soul-sucking that truly is.
So after writing such a beautifully personal, heartwarming record like Blue, should she be denied a proper analysis of the songs within just because of these facts? I’m saying no. And if you disagree with me, that’s perfectly fine and also understandable. I’m sure you will sound off in the comments, but when you do, just remember once again that I’m going rogue and no one was aware of this review before I published it, least of all Erin herself. Here’s hoping I don’t get fired.
With all of that said, it’s somewhat ironic that one of the lyrics in the album’s twangy title track goes, “I’m not looking for attention / In fact I wanna be left alone.” One might be tempted to call bullshit based on Erin’s career choices, but she sings this so earnestly it’s impossible not to believe her. I could cite a dozen other examples that provide insight into her inner tug-of-war battles between being the extrovert most people know her as and the introvert that she might otherwise prefer to retreat towards.
Musically, the album’s production is remarkably immaculate, with lush Americana-vibes expertly captured by local producer/engineer Daniel DeKalb, and dynamic, tight-as-hell instrumentation by her backing band. Erin’s vocals glide nicely between a soft croon and a powerful roar, her signature raspiness forming the backdrop throughout the entire spectrum. There are times I’m reminded of Grace Potter, others I’m reminded of Norah Jones.
“Die For Me” fits into the former camp, a gently fingerpicked song about an assault at the hands of a former partner. Although dark in nature, Erin manages to sneak in some nice snarkiness with lines like “You said no one would ever love me like you do / God I hope that’s true…” Elsewhere, there’s the one-two punch of “The Humbling” and “Just Another,” a bit of a welcome curveball in the track listing. Both showcase some harder hitting intros and melodies that will take listeners back to the glory days of ‘90s alternative rock, when one could still pop a CD into their car whilst relying on a printout sheet of MapQuest directions to get where they’re goin’.
But perhaps most stunning is the album’s closer, “Colorado,” which was written for her older sister who tragically passed away nearly 20 years ago in a drunk driving accident. The ballad focuses mainly on piano, vocal, and a gorgeous orchestral section, as Erin pays lovely tribute to someone near and dear to her. “Now is when I might’ve sung you something drunk over the phone / So you feel less alone than you do / Happy birthday to you…” she sings, and you can almost hear her voice start to break in the middle. There’s that old adage, “Tragedy is the greatest art form of all,” and it’s hard not to find a nugget of truth therein while listening to a song like “Colorado.”
“It figures the busiest year of my life I would find the inspiration to finally write again,” Erin joked around release time. And isn’t that so apropos of the creative process? Inspiration strikes when you least expect it — or want it, even. In that way, Blue is cleansing, a release of a songwriter’s inner-most thoughts to allow room for the other, equally-fulfilling aspects of her life.
Is there a certain level of bias in the above review? I don’t know — probably. It’s hard not to be a tad biased when writing about your friend’s art. But I have to think that even if I didn’t know Erin personally, I’d still be sitting here confidently stating, this record is an outstanding achievement in songwriting and production. It’s personal. It’s articulate. It’s pristine. It’s Erin Harkes’ best collection of songs, and I’m not sorry for covering it.
Stream Blue wherever you enjoy your music.
