Roses Always Die is a beautiful record that is shockingly sparse and sardonic in nature. Sarah Mary Chadwick, accompanied only by her own keyboard and what sounds like its factory setting drum beats, challenges the listener with her slightly tongue-in-cheek bleakness, coming across like Morrissey on ketamine and green tea.
Not to say the music isn’t heartfelt or that sincerity is sacrificed for these stylistic choices. On the contrary, without further production getting in the way, there’s nothing to distract from the strength of the songwriting. Chadwick uses the barebones instrumentation to complement the comically bleak outlook of the lyrics. And she’s quite funny. The fact that all the songs feature only her vocal and keys purposefully reinforces the feeling of isolation and distance prevalent throughout the album – an artist so alone she doesn’t even have a real drummer.
Her vocal delivery is also part of this, it is often flat – not musically flat but monotone and lethargic – and at other points stretched and emotional, dragging out syllables for effect, such as “Tuesday go see a moo-viee” in Cool It. More than vulnerable, she sounds emotionally exhausted, and this suits the songs perfectly.
Above all else, this is a collection of strong songs, and the downer tone adds impact when Chadwick delivers catchy hooks, like during the chorus of Making It Work. “It’s a big song ‘cos I’m happy,” she sings unconvincingly, but whatever the truth is, we should all be happy there’s an artist making such strange, beautiful music.
BY ALEX WATTS
