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Though I’ve known of Rufus Wainwright and his music for years, my interest was once again sparked by his appearance in the tribute film .nightsandweekends.com/articles/06/NW0600390.php>Leonard Cohen: I’m Your Man. And after watching him perform, I couldn’t wait to hear his new album.
The son of folk singers Loudon Wainwright III and Kate McGarrigle, Wainwright grew up with a strong musical background—one that definitely shows in his work as songwriter, composer, musician, and performer. Vocally, though, Wainwright is a bit of an acquired taste. He doesn’t have a typical, classically-trained voice. It has a nasal quality to it—and a little bit of gravel. And it either grows on you or it doesn’t. But whether you appreciate his voice (as I do) or not, there’s no denying that Rufus Wainwright is exceptionally talented. And his latest album, Release the Stars, is a work of musical modern art. That means, however, that a lot of people probably won’t get it.
While Wainwright’s previous albums have included the occasional pop numbers, Release the Stars does away with the pop music almost entirely. The only hint of pop appears in “Between My Legs,” which is also the one number on the album that really didn’t work for me. It just seems to be out of Wainwright’s range—not to mention a strange fit.
The rest of the album, however, is a collection of dramatic numbers, filled with piano and strings and horns. They’re very orchestral, very theatrical. Though some are melodic and others are meandering and free form, they all have a classic, timeless feel to them. And they’re all beautifully constructed and performed. These are the kind of songs that beg to be performed live, on a velvet-draped stage, in front of a breathless audience. Lyrically, they’re often stunningly beautiful. They tell stories and build images and overflow with emotion. They’re sometimes serious and sometimes playful. And, musically, they’re just plain dazzling.
I can’t help but imagine the songs on this album as a part of a bigger work—some, a classic Rodgers and Hammerstein-type musical, others, a modern opera. On their own, though, they make for a tough sell—because they don’t have a defined audience. Fans of classical opera may find Wainwright’s voice a bit too un-classical for their tastes. And pop fans will most likely find his style to be too classical for their tastes. But if you’re the modern art type—if you’re willing to try something new, something that manages to be both traditional and modern at the same time—you’ll be amazed by Wainwright’s Release the Stars.
