Sarah Rose Project – Sarah Rose Project

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”If I had to describe this album in one sentence it would read, ‘Musical Heaven for Theater Kids.’ Whether or not you identify as such this album will make you an honorary theater kid by the end of it,” shared Sarah Rose of Sarah Rose Project about her self-titled solo record. Armed with a plethora of stylistic choices, vibes and key cameos from artists that Sarah Rose trusts and respects, Sarah Rose Project plays out like walking into a dirty jazz bar from the 80’s and being instantly captivated by the music. For fans of Sarah and the Safe Word, you will likely still connect with the material found in this solo venture, as the music is still in the vein of cabaret, paired with some old school singer-songwriter craftsmanship. Sarah Rose shimmers and sways all over this record that is filled with lush self-production and breathtaking moments.

The album starts off with “Send Flowers,” one of the latest singles to be released from the set, and it begins with a skipping record sound before settling into a cool, cabaret groove and a wall-of-sound in the chorus. Sarah Rose has her usual quirky charm in the quieter moments of the track to highlight her personality. “Sparrow County Line” follows next in the sequencing after the in your face opener, and it features a great cameo from Shayfer James. The two vocalists trade verses, and at times, harmonize during vocal parts to make for a nice combination of vocal styles. The great lyrical line of “Every dime that I spent on my salvation / Can’t match the spirit of a free temptation,” that resonates with the listener well after the song completes.

”Claws Out!” digs further into the jazz/cabaret style with some well-placed horns to accentuate the lyrics in the chorus, while Sarah Rose continues to swoon in her vocal approach. One of my favorites in the set comes next in “Devil,” that is laced with some great piano parts, rustic drumming, while Sarah Rose explodes into a crowd-pleasing chorus that is sure to capture the imagination of anyone who takes the time to get acquainted with the track. “Bar In Hell” features a low bass line throughout, while adding in some additional vocals from Sarah Rose Project’s touring partner this summer, Ratwyfe, as well as Taffeite, to round out the approach in the songwriting.

”No Money” features Jamee Cornelia as Sarah Rose shouts, “Ooo baby, we got no money,” in a triumphant fashion that is sure to dissolve any negative vibes about the situation. Jamee’s rap verse in the bridge is well-constructed and serves well in the track. “Wicker Park” has more of the jazz club vibe that is rounded out with some great keyboards and sultry vocals from Sarah Rose. “God of the Woods” is a song that sounds the most similar to Sarah and the Safe Word’s music, yet Sarah Rose Project’s ability to distance herself from her adored bandmates is shown prominently as her star burns beautifully here.

”Five People in a Two Person Room” gets the crowd moving with a surfer-wave type of vibe, and would be a great way of starting off her solo concerts, if I say so myself. The quick song is sure to leave a mile-wide smile on your face as Sarah Rose never takes herself too seriously in the experimental cut. Things turn towards the more NIN/Industrial side with the bellowing “I Don’t Want To Dance” that is one of the bigger risks that Sarah Rose takes on her solo venture here, and it features a odd-sounding breakdown between the chorus and the verse. The risk ultimately pays off, with some cool guitar parts added to the mix to showcase the limitless possibilities of her sound.

The record closes out on the right foot with the guitar-heavy “Paper Ships” that features the artist, Park, while Sarah Rose’s voice is never lost in the wall-of-sound approach in the bombastic chorus. Sarah instead showcases her vulnerability in the verses, while offering a stark contrast of confidence in the hook to round out the full approach to her sound found on Sarah Rose Project. Solo projects don’t always go this smoothly. But with a familiar sound throughout the record for her longtime fans to cling to, paired with some nice stylistic variety found in the sequencing, Sarah Rose can consider this album to be an overwhelming success and another solid step in the right direction in her artistic and self-discovery.

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