Review By Helen Brown
Among the depths of despair and depression, it is possible to find still more despair and depression if you dig deep enough and allow the bitterness to destroy you. Dolores O’Riordan and her band are back after a six year hiatus with a more mature sound and a collection of highly polished indie pop songs. The Cranberries’ sixth studio release, Roses, is a bleak introspective snapshot of a person’s thought process when coping with heartbreak and lost love, and is dedicated to a past figure who has caused irreparable damage and heartache.

You would never notice the 11 year break between records for The Cranberries, as O’Riordan sounds completely relaxed and in her element. With her beautifully raspy vocals crooning the usual “doo doos,” “oh ohs,” “la las” and “hey heys,” the alluring narcotic-laden Irish voice is an instrument unto itself.

Many lyrics show the raw reality of heartbreak, including ‘Losing my mind’ with the profound line: “You cut me deep like broken glass / I wonder when this time will pass.” This same heaviness is also found in ‘Fire & Soul:’ “I’ll wait for you forever / I’ll take you to my grave.”

‘Astral Projection’ is the standout track with catchy acoustic hooks and O’Riordan’s magical breathlessness, declaring she is only happy when dreaming and wants to use astral projection to escape awakening without her lover by her side. ‘Roses,’ the closing number, sums up an endless heart-wrenching struggle and yields to the decision of dwelling and being miserable to the bitter end, because apparently: “Roses just wither and die.”

Frustratingly devoid of resolution, Roses shows the painful reality of how someone deals – or in this case, does not deal – with having their heart broken. It is an album of resonance with fond memories of past feelings, and is a reminder of how destructive clinging to said past can be. With regimental drum beat intros and long contemplative fade-outs, Roses is both level-headed thought-provoking. There are a few aspects that give the album an upheaval from the common format such as dark heavy strings and brief electric guitar licks. There is even one song told from a third person perspective and is a sharp contrast to the primarily first person narrative.

The Cranberries, unique in their own right, have always been an acquired taste – you either love or despise and there is a very limited grey area. But once you have tried it for the first time, it either grows on you or irritates you. Regardless, their sound never fails to ignite a feeling deep inside.

With no lowlights, superb consistency and steady beats, Roses sets a rather high benchmark of quality. That being said, fans may be disappointed if they are expecting big frantic rock sounds similar to ‘Salvation’ or ‘Zombie.’ Roses is far more acoustic than previous releases and is a much softer and gentler sound, despite the dark subject matter. Before listening, ignore everything you remember about The Cranberries. Similarly, if they are unfamiliar to you, Roses is a lovely clean slate from which to work backwards and explore – or rediscover – the rest of their impressive recording catalogue.

(My rating: 4 and a half out of 5)
Review By Helen Brown
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