And so we turn full circle ... almost. Back in November, That Day was the lead off single for White Lilies Island
. That torrent of Alanis-esque verbiage was a wonderful track, in my view slightly superior to its follow up.
That's like saying that ten weeks in paradise is preferable to nine weeks. This is a great record, right from the opening violin strings. Strings on a record indicate that it is a touch of class. It's a statement of confidence, an assertion to look and listen. Then the main tune kicks in, owing little to the strings.
Imbruglia's vocal is as clear and sharp as ever, with the ubiquitous touch of an Australian twang. Again, there's a lot of vocal work on the track, but unlike the previous work, there's a clear verse, a clear chorus, and plenty of space for the instrumental track to shine through.
Note the way the backing track starts each verse with nothing more than a sparse guitar, then adds drums and a bass, and something that might be a mandolin, before fading away to nothing in time for the next verse.
In the instrumental break, those strings come back. They're repeating the same motif that started the record a couple of minutes ago, and it suddenly makes a lot more sense. It fits!
Lyrically, this is very complex, and I'm not entirely sure whether Imbruglia is singing about someone she wants to be with but isn't, or someone whom she doesn't want to like but does, or something else entirely. Either way, there's a worry that she'll be misinterpreted, and that would not be good.
This record is. Heck, after two albums, I'm still to find an Imbruglia track that isn't wonderful.
White Lilies Island
is out now.