A lot has happened in the past seven years. This is the period between Neko Case’s last album Hell-On and Neon Grey Midnight Green. Not that Case hasn’t been productive in the interim, appearing on two New Pornographers albums, writing the musical score for Thelma & Louise and penning her own memoir. The album is self-produced by Case, a first for herself, and the first track ‘Destination’ opens up proceedings in full technicolour. The use of a full orchestra (in this case, the PlainsSong Chamber Orchestra) could easily overwhelm a lot of singers, but Case’s vocals soar above it all, lifting any hints of melancholy to almost feel hopeful for things to come. Case admits that she was a sobbing wreck by the end of the recording session. ‘Tomboy Gold’ is the polar opposite, with Case repeatedly chanting specific phrases while backed by saxophones that threaten to pull the sound apart altogether. It shows the two sides of Case’s coin, and makes for a brave and bold opening salvo.
The themes of love and grief and scattered throughout the songs, with first single ‘Winchester Mansion of Sound’ written in tribute to her friend Dexter Romweber, whose band Flat Duo Jets were highly praised in Case’s memoir, which kicked off this year’s activity when it was released back in January. Dallas Good of the Sadies is celebrated in ‘Match-Lit where Case describes in great detail of said match (“It flows out of your arm like a cursive explosion”), while the guitar keeps to a deliberate beat, allowing Case’s words to take centre stage. ‘Winchester’ threatens to never find lift off for a long time, with the simple backing building layers throughout the song until we reach the rollercoaster. By the end, you’ll find yourself reaching for the repeat button.
Her memoir, The Harder I Fight, The More I Love You is a definite launchpad for other songs in the collection, with songs like ‘An Ice Age’ exploring the theme of trauma, and how she was treated by her disinterested and often absent mother. How the looks would go past through you, as if there was no-one standing there. This theme is further investigated in ‘Oh, Neglect’ and it’s a one-two punch that really allows you to peak into her upbringing.
Neon Grey isn’t all darkness though, with ‘Rusty Mountain’ turning another passage from the book into song. In this case, the hunt through the family garage and finding a pile of junk to explore and lift her boredom. She equates this hunt with the futility of love, but admits that love can be worthwhile if you meet the right person.
‘I know I can’t burn this bright forever” Case makes clear on ‘Wreck’ but it’s her determination not to be overtaking by the despair of losing so many people close to her that brings these songs to the light. Case has spoken in interviews about accepting grief, looking it in its eyes and allowing yourself to feel it at every stage. This allows the memories rise to the fore, and Case has turned these into art. “We all deserve better than a love song” Case states on ‘Rusty Mountain’ and she has collated a series of musings that go way beyond the boundaries of simple love songs. They will also take a while to unpack, but Neon Grey up there with anything on certified Case classics like Fox Confessor Brings the Blood and Middle Cyclone.
These are love songs that don’t feature love, and non-love songs that contain traces of love and Case, as always, is a captivating and urgent presence throughout each song. Her use of the English language should be studied further, and we can only hope that it’s not a further seven years before she graces us again.