"LOVE & ITS OPPOSITE", LO NUEVO DE TRACEY THORN / Tracey Thorn's new album [ACTUALIZADO/Updated]

Sorpresivamente nos hemos enterado que Tracey Thorn (ex-Everything But The Girl) tiene disco nuevo: "LOVE & ITS OPPOSITE" ("El amor y su opuesto"), un disco que retrata la crisis de la madurez y los errores que la gente comete intentando escapar de las vidas que han creado. Un disco sobre divorcios, desamores e hijos de por medio. Aquí incluimos algún audio y videos de canciones del disco.

Surprisingly, we've got to know that (former.Everything But The Girl) Tracey Thorn has a new record: "LOVE & ITS OPPOSITE", an album that examines mid-life crisis & the mistakes people make when desperately trying to escape from the lives they've created. An album about divorces, love deceits and children in between. We include some audio and videos of songs from the record.

Audio "WHY DOES THE WIND?":

Video "OH, THE DIVORCES!" TV:

Video "OH, THE DIVORCES!" en vivo en casa/live at home:

Video "LATE IN THE AFTERNOON" en vivo/en casa:

Pre-escucha todo el disco aquí/Preview all the tracks here:
http://www.strangefeelingrecords.com/ecards/loveanditsopposite_order.html

Lista de canciones/Tracklist:

1 Oh, the Divorces! (Oh, los divorcios)
2 Long White Dress (Vestido blanco largo)
3 Hormones (Hormonas)
4 Kentish Town (Pueblo de Kent)
5 Why Does the Wind? (¿Por qué el viento?)
6 You Are a Lover (Eres un amante)
7 Singles Bar (Bar de solteros)
8 Come on Home to Me (Ven a casa a junto de mi)
9 Late in the Afternoon (A última hora de la tarde)
10 Swimming (Nadando)

Críticas en medios británicos (en inglés)/Reviews from British media:

[BBC]

The quote accompanying Love and Its Opposite is mildly terrifying. “When I was young, I imagined middle age to be a kind of comfort zone,” says Thorn, “but in fact, having got here, I feel it's more of a war zone. The songs are where I dump all that s*** so that I can get on with my life without jumping off a bridge.” And though this hardly qualifies as an inducement to listen, there’s something delightfully honest about it. It’s almost anti-press.
Such painfully spare sentiment is echoed in both the lyrics and the pared-down arrangements on Thorn’s latest, on which she’s worked with musicians as disparate as Hot Chip’s Al Doyle, Swedish alt-pop’s Jens Lekman and Nashville singer-songwriter Cortney Tidwell. But the Ewan Pearson-produced, back-to-basics approach does mean those honest lyrics stand out more, and seem even starker. On Singles Bar she asks, “Can you guess my age in this light?” over a simple, swaying twang, before revealing how she “laid on her back for a Hollywood wax”. It might be that it’s simply too honest for some.
But that’s not to say Love and Its Opposite is all over-share. Lee Hazelwood cover Come on Home to Me has swirling atmospherics; there’s a sort of triumphant sweetness to Long White Dress’s acoustic melancholy; 60s handclaps inform the giddier Hormones; and there’s even some bare electro-pop in the pulsing Why Does the Wind. Swimming proves to be the highlight, though, with its provocation to “go on” over a building accompaniment that swirls like the water Thorn’s determined to wade through.
And through it all, there’s That Voice – nobody else sounds like Thorn. When you’re blessed with an instrument this pure, and this suited to melancholy, it’s easy to see how the ex-Marine Girl might be headed for Pop Treasure status. Her enviable clarity of tone and the disarming beauty of her vocals lend Love and Its Opposite a dreamy, if uncomfortable, sort of truth. But blithe, sunny romantics are advised to keep a stiff drink (and a hanky) within very easy reach.

[The Guardian]

If Tracey Thorn's last solo album, 2007's Out of the Woods, saw her stepping out on the dancefloor, its follow-up finds her nestled on the sofa, watching daytime soap operas and devouring chick-lit. Her lyrics leave no romantic cliche unexplored, travelling from commitment issues (Long White Dress) to marital breakdown (Oh! the Divorces), via the tragedy of dating again (Singles Bar), the horror of realising that your teenager wears your frocks better than you do (Hormones), and the recurring stagnation of long-term relationships (Swimming). The music, too, is the stuff of romcom soundtracks: acoustic in mood, gently pulsing, shot with silvery strings, occasionally stumbling into schmaltz. Sounds awful? Well, no, because Thorn's voice, rich and smooth as the most expensive chocolate truffle, brings each story to genuine life and invests it with heart-snagging emotion. Even so, the album's high point is a curveball: a duet with Jens Lekman, covering Lee Hazlewood's Come on Home to Me, that is chilling in its desolation.