The end of a marriage is often a painful and ugly thing. Dissecting the reasons why things went wrong leads to hurt feelings, recriminations and, often, even more painful self-reflection. The is probably why the tribulations and collapses of musical marriages have lead to so much incredible music. Legend has it that Rodney Crowell won Rosanne Cash back with “After All This Time.” Likewise, when she sang “I am not a lighthouse, not the answer or the truth,” a few years later it was hard not to see it as a response to his “Til I can Gain Control Again.” From George and Tammy to Allison Moorer and Steve Earle, musicians have been making music out of the shattered, messy emotions that mark the end of on relationship, the beginning of another, and the moments when those overlap for decades. The latest of these is Kathleen Edwards’ Voyageur, the album that chronicles her divorce from long time collaborator Collin Cripps. The result is a striking and painful album that highlights some of Kathleen Edwards’ best writing to date.

The album opens with the gentle loping of “Empty Threat,” which finds her singing sweetly over a soft, rolling beat. “I’m moving to America, its an empty threat,” she croons. “Chameleon/Comedian" is a soft and gorgeous ballad full that occasionally allows for the vocal breaks Edwards’ fans are so fond of. “Calling quits, you think this is easy?” Edwards keens over a lullaby-like piano on “Soft Place to Land.” The song delves into the sharpest, most painful moments of a break-up with lines like “You’re calling me names, but not to my face.” “Change the Sheets” has a taught-er melody, one more akin to her earlier grungier music. This song, however, has cleaner production and sweeter vocals and soft, lush harmonies. “House full o Empty Rooms” is the most haunting song on the album, sweet and quiet and harrowing. “You don’t kiss me the way that I wish you would,” she ponders, “Maybe I don’t want you in a way that makes you think you should.” “Mint” is really the only song on the album that finds Edwards solidly back in her old rock comfort zone. However, even here her voice is sweeter and more polished, sounding not unlike Sheryl Crow circa The Globe Sessions on lines like “God knows I want you, God knows I need you, God doesn’t know you like I do.” There is a bit of lyrical whiplash as the album veers off into the giddy rock of “Sidecar.” Its an effervescent, almost giddy take on on the head spinning effects of new love. In keeping with her own personal time line, Edwards follows her love song with “Pink Champagne,” the most painfully honest track on the album. “Dressed to kill with a glass to fill I wasn’t ready but I didn’t fight,” she confesses in a song split between finding her own blame and absolving her ex. “Going To Hell,” again finds her seeking for a source of her pain. “I’m going to Hell in a basket I made,” she sings, her voice echoing out in perfect harmony with Justin Vernor. Edwards closes out the album with a final breath of resolve on “For the Record.” “Hang me out on your cross,” she sighs, “for the record, I only wanted to sing songs.”

Collin Cripps has been Kathleen Edwards’ producer since Back to Me, so when Justin Vernor took over at the helm of Voyageur, it necessitated a change of sound. Vernor brings his Bon Iver sensibilities to the album, creating a softer, more ambient sound. This is evident from the opening notes of “Empty Threat,” the albums first track. The “little bleeder with white pants on” is all grow up and this is a softer, more polished version of Edwards. The first change is in Edwards’ voice. It is still a soft and fragile soprano, but the rough edges and small breaks that highlighted previous albums have been polished over. The result is a more soothing, but less dynamic sound. The music is a studio created symphony of layers that occasionally threaten to drown out her vocals. They do however, fit the mood of reflection and introspection that marks this album. In fact, its introspection is its only flaw. Filled to the brim with Edwards, the album leaves no space for the vibrant humor and carefully drawn character sketches she is known for. Still, Edwards remains one of the finest songwriters of her generation and Voyageur is a solid addition to her cannon.

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Kathleen Edwards - Voyageur - Album Review