Sarah Fimm

Sarah Fimm

A Perfect Dream


Judging from the cover art, you’d think this was an album of prog-ish drama, all sanctimonious new age “atmospherics.” And Sarah Fimm may touch upon such areas, too, but it’s impossible and unjust to put her in any one single box. At her worst — on “Shadows And Dust,” say — she may come across like a poppy Enya, but in general, she is miles above and beyond such marketed mysticism.

From the sleazy latter-day Prince/Erotica-era Madonna styling of “Be Like Water” to the be-bopping late-night funk of “Spit Trap Ghetto,” Fimm’s every move is as unsuspected as you could possibly hope for. The dramatic “Alien Boys” segueing into “Smoke” are both fine tracks, reminiscent of a dramatic Tori Amos, while “Virus” is another standout moment.

Fimm may take in so many impulses and influences that it’s hard to actually spot the real Sarah in all this. But this is an ambitious and — for the main part — convincing album that shows her finding her feet and exploring her voice.

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