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Come the Storm

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Crítica do álbum

Although raised in Boston, singer Eileen Rose made her first two albums in Britain. Now, with her latest record, Rose seems to be influenced by some straightforward American rock & roll on the opening "Last New Year's Eve," which sounds like a countrified version of the Pretenders, with Rose more than capable of hitting notes à la Chrissie Hynde. But she strays from this with the midtempo, Americana-flavored "Never Be the Same," which brings to mind a softer, gentler Kathleen Edwards or Lucinda Williams. Things improve with the midtempo soul-pop of "Stagger Home," which Rose nails perfectly — and the same can be said for the ensuing softer "Ocean of Fire," which showcases her strong, powerful pipes. However, things get upended with the slow, crunchy rocker "Nothing But Blue," which sounds like a cross between Shelby Lynne and Tift Merritt and is one of the more memorable efforts here. Some songs span five or nearly six minutes, but aren't the type to sag at any point, judging by the pleasing, heart-tugging "Staying In." The low point on the album is the simple train-chugging "White Wave," which picks up steam but really goes nowhere. Rose redeems herself, though, with the hymn-like spiritual "Time to Go"


Nascimento: Boston, MA

Género: Rock

Anos em actividade: '90s, '00s

The hard-edged streets of North Boston were a tough proving ground for a young Eileen Rose. With eight older siblings, Rose paid plenty of dues growing up. Trotting from New England to Old England with her plentiful Irish-Italian American family gave her much fodder for later use in songs. Being the front person for bands such as Daisy Chain, Medici Slot Machine, and Fledgling got her foot in the music industry door and allowed her to hone her craft while learning the ropes. (Vocally, look to her...
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Come the Storm, Eileen Rose
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