I never thought anything would top 'Optimist Party' but 'Out Here At Sea' is beyond anything words can explain. Karen has done the impossible and topped herself. I'm in awe.

Jeez, what to say. This is an incredible sound and I can't see the popularity of this album going anywhere but up. A great CD from a songwriter's viewpoint, as well as a new and exciting path to follow for current kk fans. Well done!

The latest album (her fourth) is, in my opinion, her best to date. This of course does NOT take away from the beauty and merit of previous works (who could slag Don't Assume, Woman, Nothing To Declare, Marianne.... ), but it is more of this evolution towards a purity of sonic voice. So many artists have an album to end all albums, their memorable work, the one where people went, "A-ha! I can't NOT listen to this woman!". Tori Amos has Little Earthquakes or Boys For Pele (depending who you ask); Sarah McLachlan has Fumbling Towards Ecstasy; Ani Difranco has Not a Pretty Girl. And Karen has her latest, Out Here At Sea. The evolution of her sound has been fun to watch, from folkie girl with a guitar and sass, to rocked out folk, to her current sound, a jazzy-trip-hop blend. I'm enjoying the new direction, if only because watching the experimentation, one feels Karen's having fun with music as an entity. It also creates a very ethereal tone at shows, making it easy to get lost in the experience. If I had to complain about the new album, my complaint would be that I want another nine songs. It's the sort of solid, coherent album you wish would never end. In my case, I just hit Play again The first listen reveals a noticeable coherency and flow to the entire work. Each song moves the listener effortlessly into the next, almost as if telling a story. There is no jarring moment, where the mood is broken by abrupt shift, which is difficult to achieve, especially given the change in direction that characterizes OHAS. The use of Glockenspiel and echo is extremely effective, as are news clips in the all-too fitting with the times track We'll Find You, a song that portrays the siren's song of the media and its false prophets. In terms of content, the album ranges from the political to the personal, with the theme of loss emerging as a loose thread joining the works. Intentionally or not, the thread binds the works in a daisy-chain manner, woven carefully and subtly. Whether it be loss of innocence in a world that grows darker by the day, or loss of sanity and self, or loss of love, there is a call to the darker corners of the heart. Tragic opens the album, a wise choice for setting pace and mood. It's a smooth-sounding, sonically upbeat track, while simultaneously casting a pale shadow in anticipation of Important, a key track on the album and one of my picks as a single-worthy track. Important has evolved from the sampler EP I Have Turned Off The TV, moving from acoustic to a stronger band support. It's a different effect, and the song fits more coherently into the whole, although I think it will always be a song felt strongest in acoustic live form. Love and Bandaids is my favourite on the album, and one of my favourites of Karen's. Its dreamy, dark melody ensnares you in a coccoon of emotion, a sense of floating in dark waters under the moonlit, reflecting on love and loss. The addition of echoes to key lines strengthens the effect, and makes this track a highlight of the entire work, especially as employed in the closing lines, "I'm not heading for decay/Love and bandaids made me who I am today". Scared To Death, formerly known live as Never Again, is perhaps the most chilling song on the album, although the title track puts up a good fight for that distinction. One almost gets the impression of a church confessional, a whispered prayer in the night made of desperation. The bridge is unforgettable, the words lasting long after the song ends: "One day I will float away on air/I'm coming, my friend...." No One's Watching has a delicious bitter edge, and brings vocals down to more of a raw, grittier sound. It works extremely well for the song and its lyrics, and the melody is addictive and catchy. You'll find yourself singing the chorus randomly as you go about your day (sometimes out loud, which may create embarrassment if you work in a bank, as I do). Out Here At Sea is a haunting piece that drifts slowly across the senses, with its feel of an insomniac in a corner, watching the clock tick life away. It works extremely well at creating sonically the feel of the tide moving in and out, truly leaving listeners "out at sea". It is the darkest track, with its blend of self-pity and loathing dashed with intense isolation. It is the musical equivalent of an isolation chamber, and finishes the album beautifully.... "You asked for this, you hypocrite/Let go..." Except that, of course, the album doesn't truly end there. Karen's tucked a hidden track onto the end of the disc for your listening pleasure. The untitled track, which kicks in approximately at the 4:30 mark of Out Here At Sea, is a jazzy 'martini bar meets James Bond theme' piece that stretches for over 7:30, and showcases the ability of Karen, Marc Rogers and Ben Riley to simply jam. It is best served with a glass of Shiraz Once again, the hidden track is a gem (fans will recall Wannabe from Optimist Party), and an eloquent finish to an astonishing effort. Karen, take a bow. You've truly outdone yourself and come into your own. This disc is a must-own. (Note CD Baby Does not Allow Paragraph Breaks, hence the glob of words ;) ).