Reviewed by Ian Phillips.
By Washington, Island Records 2020.
Batflowers is the latest album from Megan Washington (who now goes by her last name only) that I’ve listened to in its entirety since her great debut album I Believe You, Liar which was released a decade ago.
The first single from Batflowers, Dark Parts really grabbed my attention because it has a much darker edge to it than most of her recent output.
The film clip is great you’ll find it on YouTube.
This new album shows us a change in direction for Washington.
Gone is the piano and acoustic guitar that are usually front and centre and in come the synths, bass, and drums.
The sound is much fuller and heavier and is a reflection of a change in her song writing.
There may be elements of her old whimsey but her writing voice suggests a more experienced and somewhat world-weary person.
Certainly, a more rounded individual.
Washington has jumped musical genres a number of times from jazz to pop and now into a more experimental pop/rock vibe.
She has the voice and experience to succeed where others might have not been able to do so.
While the album has a heavier sound, it doesn’t mean that it’s dark and depressing. On the contrary it contains a lot of warmth.
To me the best tracks are the up-tempo ones such as Dark Parts, Achilles Heart, and Switches although she does end the album with one of the slower tracks and one that’s certain to become a classic.
Kiss Me Like We’re Gonna Die sees a return to the jazz singer Washington and it’s a standout.
This album reminds us that Washington is a consummate performer who can slip easily from a pop artist to lead singer of a hard-driving rock band and on to a smoky cabaret lounge, delivering a sultry solo performance accompanied only by her own piano.
I suppose the defining thing about this excellent album is that Megan shifts between multiple genres with ease.
She is not constrained and we are the beneficiaries.
