Not an album born of passion, inspiration or burning ideas.
Catherine Feeny is from either Los Angeles or Philadelphia depending on which websites you believe, but is definitely based currently in Norfolk. After being invited to perform on ex-Lighthouse Family's Tunde Baiyewu Catherine also met Sebastian Rogers, who co-writes with Tunde. Sebastian and Catherine decided to work together and hence Catherine moved to Norfolk to be close to Sebastian's studio and 'Hurricane Glass' was crafted. It is her second album, following up 2002's self-titled debut; second track 'Mr. Blue' may already be familiar to some listeners after being featured in the 2006 film adaption of Augusten Burroughs' memoir 'Running With Scissors'.
One of the most striking features of 'Hurricane Glass' is how unmistakably American Catherine's sound is, despite being recorded in East Anglia. She describes her music as folk with pop influences, but country with pop influences would probably be a more accurate description. Her American accent is very strong (which is not necessarily a bad trait to have, but it can be quite defining, especially when combined with country-sounding instruments) and the range of her vocals is somewhat limited which grows old quickly, particularly given that the album does not cover a wide range of styles and pace. At times Catherine's voice becomes huskier and calls to mind Imogen Heap - 'I Still Don't Believe You', 'Hush Now' and 'Unsteady Ground' are particularly notable for this although sadly their accompanying music cannot match Imogen's in levels of innovation or interest.
The two tracks that stand out the furthest are 'Always Tonight' and title track 'Hurricane Glass'. 'Always Tonight' is easily the poppiest song on the record, employing folk instruments in a manner heard previously in Alanis Morrisstte and Shania Twain tracks and a melody that will sound strangely familiar by virtue of its mundane happiness. It is inoffensive, slightly annoying and undoubtedly bland - but those are factors that can make a song go far. 'Hurricane Glass' has a faster pace and catchier melody than most of the tracks here, employing guitars that are as country-sounding as a Stetson hat is country-looking. It may prove popular with the LeAnn Rimes and Sheryl Crow fan base, but such listeners may be put off by the track's dark lyrics about wanting to see someone for the last time before dying, lyrics that would seem more appropriate on one of the tracks slow-paced tracks.
Catherine Feeny's music wants to operate in the vein of Fiona Apple, Ani Difrance and Martha Wainwright, but instead it sounds at best like Cat Power or Beth Orton at their most uninspired moments, and that is in fact somewhat unfair towards Cat and Beth. There is a small chance that Catherine Feeny will become trendy and people will buy her album hoping that it will either sound entirely like 'Always Tonight' or 'Hush Now' depending on their musical preferences, but both pop and folk fans will be disappointed. There is little technically at fault with 'Hurricane Glass', but it is not an album born of passion, inspiration or burning ideas.