There have been any number of wonderful new records this year, defined by a sense of place. John Cale's splendid Mercy, and his rich Welshness. Yo La Tengo's distinct New York-ness. Lonnrie Holley and the American South. Now this. Shania Cleveland's second solo outing,.Manzanita.
Cleveland is also the singer and nominal leader of La Luz. They're great, but personally I prefer her own records. 2019's remarkable Night of the Worm Moon. And now, just yesterday it's successor, and on first play, at least its equal.
The place it speaks of and captures, is the hills of California. The California of Love's Arthur Lee and Forever Changes. The California of Joanna Newsom and Allah-Allah's. Of The Paisley Underground. Of coyotes and Charlie Manson. Of Laurel Canyon.
Cleveland clearly understands these hills intimately and instinctively. And Manzanita takes you there. Surely more than any record you'll hear this year. It's baroque. Gothic Folk. Lush and seductive, but also vaguely threatening.
Most of all though, after listening through to this, what you're left with is an appreciation of what a great songwriter and performer Cleveland is. And a desire to listen to the whole thing all over again.
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