Lili Haydn- Lililand

Violin Pop Gone Awry

There is something sacrilegious about using violins in rock music. At its best the genre exists within an almost minimalist setting of drums, keys, bass, guitar, and (possibly) vocals. When unnecessary ambience gets thrown into the mix, rock becomes glittery and watered down, lost within its own self-concern. Such is the case with violinist Lili Haydn’s newest release, Lililand; the artist’s fourth, and most uninspiring, studio album.

If the title offers any evidence of the frothy pop to be found within, track 10, “God Said Master,” firmly cements the conviction. The song is reflective of the majority of the album’s issues: over production, forgetful hooks and strained vocals that sound like an uncomfortable mixture of Lucinda Williams and Kristen’s Wiig’s Bjork impression. Over her career Haydn has worked with Sting, George Clinton, Robert Plant, Jimmy Page and Tracy Chapman, and there should be no argument against her mastery of the violin. However, despite general predication, musicianship only gets one so far in crafting a good sound; at some point creativity and inventiveness need to enter the constriction.

Lililand plays as an over-ripe dreamscape lost in ambiguity; there is little to find within the song listing besides wavering violin backdrops and well-oiled poppy-ness. Songs such as “Elephant Trapeze Master” expose the sort of whimsy that Lililand seeks to cultivate, however it all becomes lost behind the awkwardness of the record. “Tyrant” spends its 5:00 playtime searching for an importance that it never quite captures, calling for world peace in a loosely strung together ballad. Most disappointing, however, is the cover of Led Zeppelin’s “Kashmir.” It comes off as a showy tribute to a band that, without question, influenced her taste for the elaborate. But from within the lengthy violin solos and pure reliance on billowy ambiance, the song’s hard edge softens into just another Zeppelin cover.

While one must respect Lililand’s vision, it is best not to linger upon it. Haydn has compiled a record of disparate elements that seem to clash among themselves. Little is done construct a robust thematic progression, with most of the album confused by its own loftiness. As her work with rock greats will almost certainly continue, it has to be wondered if she should stick to that side of her career; there is no need for a Lililand follow up.