In Greek mythology, sirens were femme fatales whose beautiful songs would lure sailors to their deaths. Sydney Wayser (@sydneywayser) just might be the modern-day version. Though her enchanting songs are rife with subtle complexities and rich textures, her melodies sparkle like rays of sunshine through treetops. Listening to her music inevitably yields delight.
Her new album, Bell Choir Coast, released at the end of March, is bouncier than her previous efforts, yet maintains the same roots in lazy blues and sultry jazz. Having been cooked in the studio a bit more, it features the delicate mixing of countless instruments and vocal flourishes. Her sound seems to have grown up, leaning less on the aptly-described “children’s toys” of her earlier work, yet she continues to flirt with expectations by combining distinctive instruments evocative of disparate musical styles (i.e. harmonium, recorder, woodwinds, and ukulele). Her vocals are nostalgic and dreamy, enhanced by a hollowing, tin can effect used increasingly throughout the album.
The album opens with “Roads”, her siren song. With the bleeding harmonies of a bare-boned hymn, Wayser plants her hook instantly. The closing song, “The Little Ditty”, calls to dusty roads and rocking chairs, sending listeners on their merry way. In between, there are chain-gang rhythms, a bit of swing, dream-pop and even a hootenanny that sounds more tropical than backwoods. Her simple but pointed lyrics such as “I’ll do the dirty work, you can go to heaven” (“Dirty Work”) and “I need you more than you need me/ so come back” (“Time Frame”), allow the focus to rest on the happy flurry of instrumentation.
This is music to kick your heels up to and find relief from all your troubles. Yes, she will lure you in, but instead of peril, she brings pure joy and solace.
