Patricia Ossowski: Press

A compelling pop rock milestone. Well crafted songs. Her voice and piano work show that Patricia is at the top of her game. New York City hotshot artist and producer Sham Sundra makes it sound like a major label release. Patricia Ossowski is a major talent.

Those familiar with My Best Mask On, Patricia Ossowski’s 2001 debut, are aware of the clarity and insight this award-winning songwriter brings to her work. Loss and discord are the thematic threads that tied the material on Mask together.

Ossowski’s newest release, What Would You Believe?, is a work born of conflict and loss that rises from the ashes of the past. The artist has emerged with her sensibilities intact; tougher, more confident, and at once more compassionate.
I think it was Maya Angelou who wrote, “They say you should not suffer through the past. You should be able to wear it like a loose garment, take it off and let it drop.” Belief’s forth track, Broken Me concludes with the line, “I’ll surprise myself one day, Let the old ways slip away”, By the final song on this outstanding release you will believe she has done just that.

Producer and musical collaborator, Sham Sundra, brings crisp tonal and textural sensibilities and an interesting instrumental pallet to the project. Ossowski’s vocals shine throughout, giving the lyrics a range and character that surpasses her earlier work. Not one to mince her words, Ossowski’s no-nonsense approach can be chilling as in True and Lucky Me, the album’s opening tracks. Luminous recognizes that diamonds are the product of pressure and heat . . . and time. I Wish, the bonus track, is a whimsical look at envy of perfection from the Randy Newman school of tongue-in-cheek. That Line is a stunning love song who’s chorus, like an over protective parent, didn’t want it to be.

While craftsmanship and fearless exploration of emotional landscapes are hallmarks of Ossowski’s songwriting, her musicianship is equally compelling. Her piano accompaniment has an understated elegance that reminds one of Aretha Franklin’s perfect playing in support of early tracks like I Never Loved A Man and Ain’t No Way. The playing never competes with the vocal and yet, unlike the other instrumentation, one can’t imagine the song without it.

Writing in the “confessional” style of artists like Joni Mitchell or Ossowski’s inspiration, Kate Bush, is not for the faint of heart. The narrative must be personal enough to unflinchingly illuminate details of unique situations or circumstances while being emotionally honest enough to resonate with listeners in a universal way. Not an easy task.

The disc’s final song, On A Sea floats a metaphor for this process. Carried by a beautiful, sometimes choppy melody, the artist vows to disclose “all the truth, all my truth absolutely. It’s no time to hide.” Although there is no reason to believe the journey will be a smooth one, Ossowski’s artistic future appears luminous

After offering to review this CD I found out that Patricia Ossowski's previous release, "My Best Mask On" was reviewed here by Anna Maria back in December of 2001. The only thing Anna Maria would change it to make it longer. That seems to be a common complaint on EPs. Interesting how the ones that deserve to be full length often are not! But that's not the case here. This is a regular full -length record and it's wonderful. It even has a bonus track!

I would describe the music as intricately layered piano pop. Some of the songs are a tad spooky and mysterious. I am reminded of Evanescence on "Broken Me".

While some are pretty straight Intellipop.

She ends the CD, with a cute (and I don't mean that disrespectfully) little song called "I Wish". It's got a very sweet old tymie feel. The lyrics are hilarious...if youv'e got a strange sense of humor. I obviously do.

Piano is her primary instrument and she plays very well.

I also like the way the songs are put together. The lyrics, to the melodies, arrangements and vocals…a first rate act.

Ossowski's voice is very likeable and matches the music wonderfully no matter which style she's creating from song to song.

The sound of the record in general is very polished and professional, very nice and sometimes hard to do for an indie artist.

This is a great release and I encourage you to give it a spin.

This is keyboard-based precision-pop with sophisticated production, lush soundscapes, and powerful lyrics: "while you here always looking for a miracle while I just slowly drown/and you here always saying I'm beautiful but I just can't be found". Some of the songs, like "luminous" and "please don't go" have memorable hooks; some rock ("lucky me" and "broken me"); and many have haunting harmonies and evoke truly chilling moods........

The unutterable sweetness held withing Patricia Ossowski's straightforward songs and the sexy, rolling gait of her piano is phenomenal. Her voice isn't unnecessarily adorned with effects or pointless warbling but, instead, comes out in pointed, short bursts and her lyircs don't mess around. With Shawn Pelton on drums, Jon Conte on bass, and a slew of cellists, Ossowski and producer Sham Sundra have created an impressive record.
Highlights include the sultry "Enough" where Ossowski opens, "eveil enough/tongue is sharp aiming for blood/ deceiving enough/ sugar sweet coating served right up" and the frustrated break up tune "on Your Way Out" which calls to mind Cowboy Junkies' "Sun Comes Up, It's Tuesday Morning" (from Caution Horses) in its insightful look on newfound loneliness. Also, the Jane Siberry reference in "On Your Way Out" speaks volumes about Ossowski's writing. Much like Siberry, Ossowski is immediate, intimate and hones. The rollicking "Candy" is reminiscent of everyone from Tori Amos to the Pixies and is the most alluring tune on the record. With its sudden chord changes and urgent tempo and arrangement, it could be a AAA radio hit.

Patricia Ossowski should be writing movie soundtracks. Her self release of "My Best Mask On" could be the score behind a movie drama where happiness triumphs after many emotionally trying moments. Ossowski's ability to lead the listener into her songs to feel the emotion that drives it rather then focusing on the chords or words is a unique touch with today's singer/songwriters. "On Your Way Out" is a great example of this. Starting off with soft notes of a piano, your mind is calmed by the time you hear Ossowski's saddened voice as she sings to her love to "please just go". You're slowly engulfed into the mood of the music as cello appears at the climax to seal in the felling. "Perfect" starts off subtly and leads you into one new instrument at a time until your speakers are filled with a small orchestra. "Enough picks up the beat, with a piano influence similar to Tori Amos during her "Boys for Pele" period. If this is Ossowski's first release, she should be proud of a musical accomplishment that tends to only be created behind the walls of a major label recording studio. While a major looks imminent, I'd like to point her in the direction of Sundance.