Rising indie pop artist Chana Rothman seems tailor made for an enthusiastic fandom. With greater numbers of young people embracing the roots of their cultures, music that blends Western sensibilities with world sounds is in greater demand. In the Jewish world, musicians have capitalized on this need for both cultural authenticity and tame worldliness to enviable success. (Insert Matisyahu reference here… and moving on.) Rothman’s second project, the six-track “Beautiful Land,” puts those tensions in a blender and purees them into a mixture that comes off playful and full of potential, if a bit scattered.
“Shine” starts the album off on a strange foot. Quirky, offbeat folk pop works best when it owns its cheesiness, or at least doesn’t take itself too seriously. While the opening track serves up a memorable melody on an easy-going vibe, I can’t help but feel that Rothman tries a bit too hard—particularly with these lyrics. When “Pop Tart” is made to rhyme with “Wal-Mart,” I don’t know if I should applaud or skip the track. That isn’t to say the whole track falls apart. To her credit, Rothman’s voice is a satisfying mixture of soul and that soothing quality found in the best acoustic singer-songwriters. There’s even a jazzy lilt in certain notes, bringing to mind an earthier Lorraine Feather. “Shine” is not a home run, but that isn’t because of a lack of raw skill.
Title track “Beautiful Land” evokes early Jack Johnson with a straight-from-the-commune worldliness that makes good use of calls to see the beauty of our world and the people in it. If anything, this one needs a dropped top and a summer drive to match its brightness and fun. The ending dissolves into a repetition of simple phrases and strummed chords. It doesn’t feel entirely improvised, but it is tailor-made for accompaniment—the kind where we all sing loudly in the car or shower and ignore how bad we sound.
This idea sums up much of the album. Rothman invites feedback; she wants a sing-a-long. It sounds cheesy (and it is), but with a disarming air about her, she pulls it off. “Inadequate” sounds like the trippy verses of Jason Mraz’s “Wordplay,” and listening to it brought back memories of a favorite summer not so long ago, first dates, late nights and long phone conversations: typical teen nostalgia. That sounds a bit odd, given that the lyrics bear insecurities and offer prayers for the future—potentially heavy stuff—but Rothman never drops her bubbly air. It’s easy to be swept up in that energy. The tone doesn’t match the lyricism, but I’m not complaining by the last refrain.
“Come on Home” shakes things up considerably; it makes the whole project about more than head-bobbing fare. Taking a moment to create a slow, reflective groove over a simple chord progression and bongos (what else?), Rothman’s slightly worshipful lyrics evoke the fragility of folk-rocker Melissa McClelland even while her voice is reminiscent of Dido—with an easy, haunting tone and genuine sensitivity. Easily the best track on the album, “Come On Home” reflects the kind of music Rothman might one day be known for.
“Baby Do That Dance” is the odd man out, a short-but-sweet number that sounds like the lounge-y soundtrack to an anniversary. The chorus isn’t particularly memorable, but Rothman’s command of rhythm and vocal delivery make this one a winner. It won’t work for everybody, but those with a sweet tooth for sugary romance will find it delightful. What’s more, Rothman doesn’t feel like she’s creating a character here; she’s really having fun behind the microphone, and you can feel it.
Closing track “Remember Your Name” offers up some heavy themes even while packing up the guitar case and pulling the curtain. It’s easy to forget just three songs ago, Rothman’s project seemed destined to be a summer album—something seasonal and one-note. Now I’m convinced this artist is in command of a greater range than she’s been writing to. If her previous project, “We Can Rise,” was full of Matisyahu and Bob Marley homages, then “Beautiful Land” seems almost evenly divided between easy going folk tunes and a more experimental, thoughtful style. This makes me think that Rothman is sitting on a reservoir of talent. She hasn’t delivered her best material yet, but you can feel her sorting it out. The process is fascinating—and quite the record.
