Beth Thornley - Wash U Clean Review
Posted by Vanessa Willoughby on 02.08.2010
Los Angeles-based singer and songwriter, Beth Thornley, has been compared to Aimee Mann, Beth Orton, Tegan and Sara, and Death Cab for Cutie. But does her third album, Wash U Clean, warrant such praise?
TRACK LIST:
1. Wash U Clean
2. Still Can't Hide
3. Everyone Falls
4. It's Me
5. You're So Pony
6. What The Heart Wants
7. Bones
8. There's No Way
9. Never Your Girl
10. A To Z
At first glance, it’s easy to write off Beth Thornley’s Wash U Clean as yet another singer/songwriter album. Many of the songs are approached with an overt pop sensibility. Fortunately, Thornley actively tries to avoid restricting herself to the limits of the genre. Her past releases have been compared to the likes of Aimee Mann, Beth Orton, Tegan and Sara, and Death Cab for Cutie. Although Thornley seems to be in good company, Wash U Clean isn’t meant to be a carbon copy of her contemporaries.
“I like to write in a variety of styles. As a piano-based singer/songwriter it’s very easy to fall into all-too familiar patterns, so I like to step into some different musical shoes for inspiration,” she says.
Originally from Alabama, Thornley's self-titled debut album dropped in 2003 and was issued on her own Stiff Hips imprint. Three years later, Thornley released her sophomore album, My Glass Eye. A number of her songs have been featured in TV shows and movies, such as Friday Night Lights, Scrubs, and The Hills.
The first song and the title track certainly reflect Thornley’s style. The assault of the baritone saxophone coupled with Thornley’s vocals is anything but cookie-cutter. The saxophone solo in the middle of “Wash U Clean” showcases Thornley’s dedication to tweaking the “requirements” of the typical pop song. “Wash U Clean” is unavoidably catchy, yet it’s Thornley’s musical choices that strip it of banality.
The second track, “Still Can’t Hide,” is a slower song with a dreamy, almost ethereal melody. With this song, it’s much easier to see why critics and fans alike have linked Thornley to artists such as Aimee Mann or Beth Orton. Unlike “Wash U Clean,” the aggressive vivacity has been replaced with the steady confidence of strings. Coming in at just under 3:30, the song’s dreamy atmosphere is further emphasized through lyrics such as:
Small time saviors have all tried
to convince us we can hide.
But take the tongue from a bell;
all that’s left’s a sad farewell.
‘Cause you know what’s not said will tell the tale.
“Everyone Falls” is another melodic song that opens with only Thornley’s voice and the piano. The spirit of “Wash U Clean” has been exchanged for a vulnerability first heard in “Still Can’t Hide.” The lyrics expose the frailty of human nature, while the musical arrangement enhances the airiness of Thornley’s voice.
The fourth track, “It’s Me,” relies on the juxtaposition between Thornley’s lyrics about social awkwardness and a heavier piano and guitar sound. She sings,
Cause I laugh before the punch line;
out of place and at the wrong time.
Tangled up again in my own feet.
In terms of musical inspiration, Thornley is definitely channeling the likes of Aimee Mann rather than more rock-driven artists like Tegan and Sara.
Although Thornley’s voice may not be as arresting or powerful as the likes of Aimee Mann, she has the ability to capture the emotional nakedness and honesty of the song’s subject matter.
The fifth track, “You’re So Pony,” is an interesting departure from the arrangements of the previous songs. The stilted, almost staccato inflection of Thornley’s voice, combined with the guitar, drums, and light synthesizer give off the impression that “You’re So Pony” is a bonus track off the Ting Ting’s We Started Nothing. Even the lyrics seem to embody the frenzied, flashy aspects of pop, rather than the mellow reflection of the singer/songwriter genre. She sings,
Cause when you know it’s pony, you know that it ain’t only
just about what’s showing; ain’t about how fast it’s going.
Cause when it’s cool like Bogie, holding the door open for me,
getting lit up when you hold me, knowing how to take it slowly.
On one hand, some people may think this is most out-of-place song on the album. However, its unconventionality showcases Thornley’s interpretation of various musical styles. Although the listener may still not grasp the concept of “pony,” Thornley’s delivery is just too infectious to dismiss.
The following tracks, “What The Heart Wants,” and “Bones” pull back on the quirky and return to Thornley’s melodic vocals. The melancholy tone of “What The Heart Wants” matches the despair of “Bones.” Admittedly, after hearing the surprising musical direction of “You’re So Pony,” both “What The Heart Wants” and “Bones” may seem like familiar repeats. However, the lyrical content of “Bones” is probably the best example of Thornley’s songwriting skills on the entire album.
Someday they'll find your bones
under my bed;
left there for dead though you're not yet.
The window curtains fade; slow like the day.
I hope you'll stay; I hope you'll go away.
And it's not your fault it’s a poison well.
But it’s still your fault you keep drinking there.
“There’s No Way” is injected with a bit of optimism and dabbles with a greater rock influence. “Never Your Girl” is probably the most straight-forward ballad on Wash U Clean, and contains traces of the alt-country sound heard in artists like Ryan Adams. Heartbreak seems to be a winning source of inspiration for Thornley, as her vocals shine in this track.
The final track, “A To Z,” ends the album on an unexpected note of optimism. With its candy-coated lyrics and the happy-go-lucky arrangement, the song seems to be a creation suited for the masses of pop culture rather than the result of genre experimentation. In relation to the rest of the album, “A To Z” is rather forgettable.
The 411: With Wash U Clean, it's easy to see that Beth Thornley has talent. With tracks such as "Wash U Clean," and "You're So Pony," Thornley showcases her desire to think outside the box. Tracks such as "Bones" and "Never Your Girl" reflect her ability to create emotionally honest and vulnerable lyrics. But on the whole, although the album is melodically pleasing, it lacks that certain kick or "je ne sais quoi," that would propel it from the ranks of Grey's Anatomy background music to truly memorable.
