It’s hard to believe that it has taken ten years of releases for Cécile Schott to find her voice. That’s not to speak ill of her earlier run of records; her debut Everyone Alive Wants Answers was a joy, and her later instrument-heavy experiments were always crucial, but on The Weighing of the Heart we hear Schott’s actual vocals for the first time. It’s similarly difficult to believe that unlike so many others in her position, Schott manages to resist the temptation to embellish her words with reverb, autotune or overdrive. If The Weighing of the Heart shows one thing above all else, it’s Schott’s evolution and courage as an artist.
The album’s defining passage comes with ‘Moonlit Sky’ which blends clarinet, nylon-strung guitar, vocals and most stunningly, church organ. It is at this point that the record suddenly falls into focus; the influence of Arthur Russell and Moondog, the collision of ethnic folk music and the brave insertion of sacred themes. The song is put together in three distinct acts, and in just over five minutes Schott achieves a high point not only on the album but in her entire musical career.
Listening back to Everyone Alive Wants Answers it becomes very clear that on The Weighing of the Heart Schott is writing the same songs she always has. There is a distinct sense that this is an album that’s been stowed away in the back of her mind for years, and that what has changed in the last decade is that she has finally developed the ability and the peace of mind to finish what she started. A creative leap forward doesn’t always have to mean changing your entire identity, and few albums show that as lucidly as The Weighing of the Heart.
