Review: …Little Broken Hearts (Norah Jones)

28 total awards, 4 platinum albums, universal critical acclaim — If you are still unfamiliar with the work of Norah Jones, the bandwagon still has plenty of room.

…Little Broken Hearts, Jones’s fifth studio release, is a more confident, refined version of The Fall-era Norah Jones sound. While jazz still has a nice foothold near the core of Jones’s influences, …Little Broken Hearts ventures boldly into colourful and continually creative domains that even The Fall didn’t quite reach.

Producer Brian Burton (more commonly known as Danger Mouse, as well as 50% of both Gnarls Barkley and Broken Bells) is a masterful guide in the overseer’s seat for ...Little Broken Hearts. Not only does he perfectly balance vintage sounds with modern arrangements (which creates a fully textured, yet still timeless sonic atmosphere), but his co-composing contributions are invaluable and turn Jones’s already strong pieces into fully-blossemed roses of the beautiful and blemished sides of a romantic relationship.

While each of the twelve incredible tunes deserves a large paragraph of detailed, commendatory attention, the best of the best tracks include the groovy, defiant “Say Goodbye;” the melodically-lush and instrumentally-mellifluous “After the Fall,” the aching, poignant “Travelin’ On;” and the mid-tempo, mellow, road anthem “On the Road.” Each boasts classy and classic lyrics, satiable melodies, and arrangements that cannot be denied on any level.

The crowning jewel (amongst the many prime gems) of the record, though, is the sinister “Miriam.” Jones’s passionate loathing for her ex-boyfriend’s mistress is furious and focused, and her convincing narration exacts a perfect revenge on a personal, yet understandable level. Simple-but-effective lyrical phrases (backed by slightly-flat piano, eerie percussion, and appropriately creepy vocal harmony) such as “Miriam / When you were having fun / In my big, pretty house / Did you think twice?” and “Miriam / That’s such a pretty name / I’m gonna say it when / I make you cry” are complimented perfectly and poetically by a twisted resolve at the song’s end. It’s easily Jones’s most ambitious and rewarding composition to date, and arguably one of the best tracks of the decade to boot.

Jones and Burton, along with the other stellar studio musicians who contributed to the record, have crafted something really special here. The album is available on 180-gram, white vinyl, and sounds beyond excellent in this audiophile-approved format — This is a record you must own, and production appreciation (by way of vinyl or lossless audio) is strongly advised, in this scenario. Norah Jones — The modern, female champion of the “Vocal” genre — will certainly be remembered for an outstanding album such as this.

A- / ☆

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