by Philip Moss

All Of Us Flames sees Ezra Furman contributing to the Great American Songbook

In 1994, Johnny Cash released his 81st record, American Recordings – a collection of songs pulled together by Cash and his new found collaborator, Rick Rubin. It was the start of what would be a burgeoning relationship that would, for many, go on to define the very best of Cash’s career output – and interpretations of classics such as Simon & Garfunkel’s Bridge Over Troubled Water, Nine Inch Nails’ Hurt, and Bonnie Prince Billy’s I See A Darkness amongst many others, came alongside the release some of his best ever self-penned work – namely the haunting Southern Gothic of The Man Comes Around and Give My Love to Rose.

Like Cash, Ezra Furman has always represented and given a voice to those marginalised by society. On this, her sixth solo album, that voice has never been stronger. Although three decades younger than Cash when he started on the American Series, Train Comes Through is penned from that same worldly wise, eyes wide open view point: the metaphor of death is what throws coal at its rumbling heart, alongside her ongoing journey and questioning of religion and faith. It sits alongside Ordinary Life as the best song she has ever written, and is sees her contributions towards the Great American Songbook continue.

Furman’s journey was stylised as a ‘queer outlaw story’ on Transangelic Exodus, and those road movie-alike themes also appear on All Of Us Flames. Lead single, Forever in Sunset, is her take on the muscle of Springsteen, as she laughs at our fears that the world was ending. Point Me Toward the Real also finds her back behind the wheel – but for a person so focused on being truly themselves, no matter what – the title shows the power of role models in that Furman is that guide to so many, but also reminds us that she, too, needs direction and support.

Furman is very much a musical scholar – as exemplified by her deep dive contribution of Lou Reed’s Transformer for the 33/3 series, and her shows on 6 Music. This has been evident throughout her back catalogue, as she’s flitted between doo woo and girl group pop (Perpetual Motion People) and punk (Twelve Nudes).

But producer, John Congleton (St Vincent, Angel Olsen, Death Cab For Cutie), has a track record of working with artists at the tipping point where they move from cult favourites into household names, as well as those at the peak of their powers. And as Cash found with Rubin, Congleton pushes Furman towards the most sonically cohesive collection of her career to date – and a skin that is an ideal fit for this collection of songs. Spiked drums make way, as Throne‘s chorus displays one of her strongest melodies yet. While Temple of Broken Dreams feels like a hi-fi update to Day of the Dog.

The Chicago songwriter is yet to make the perfect album. If such a thing exists. But the warts and all quality of her work is exactly what keeps drawing followers back. If any person ever was to construct a flawless collection, there’s not much of a better bet than Ezra Furman.

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