Rebecca Pidgeon - Unillusion (2025)

This Cambridge, MA-born artist, raised in Scotland & Grammy-nominated has some formidable inspirations in her musical makeup. There’s always a dominating, delicate touch to Rebecca’s songs. She knows how to use her vocal prowess with beauteous voicings. This is her 12th album, Unillusion, recorded in L.A. & produced by Fernando Perdomo (bass/electric guitar) & Rebecca (acoustic guitar/vocals). It’s a return to more acoustic drapery. Ms. Pidgeon’s voice is silky, not quite folky. She has an equally ethereal tone to her showcase.

“Be My Butterfly” is repetitive but to good effect. It’s intimate, doesn’t compromise sonics or presence. There aren’t many fireworks, but it’s for the appreciation of the vocal tone, its distinctive plaintive articulation & the song itself. “Dasharatha” is a curiosity, but it’s a well-nourished piece, interesting & somewhat innovative. It blends the liquidity of an Enya with the texture of pre-jazzy early Joni Mitchell. Accessible but daring in conception. Some will get it, others won’t. It draws inspiration from the Indian poem “Ramayana” – maybe a little too heavy for average mainstream listeners.

Rebecca hasn’t produced anything new, but she has good instincts. She doesn’t push her more progressive rock leanings too far into weirdness. “Where Is the Man?” could be a Kate Bush-type embellishment or a Sarah Brightman near-operatic mélange. Ms. Pidgeon succeeds in dressing up her songs’ finery in colorful musicality.

There aren’t many dominating instruments. Rebecca blends each number into its own instrumental framing. There are no rock-hard lead guitars, pounding pianos, drum excursions, or blaring horns. Instead, it’s more of a landscape, a soundscape.

“Drumlins” would’ve been stronger without the intro narration. Too mildly bombastic. The acoustic guitar dominance & Rebecca’s singing have a semblance of music similar to Dead Can Dance’s repertoire, featuring Lisa Gerrard. The unorthodox instrumentation is paired with standard-issue sounds. This song is interesting, nonetheless. It doesn’t have to be weighed down by overly dramatic touches. The tune is fine without the little strange swipes. It’s a strong composition.

Rebecca continues to be a good storyteller & has excellent melody approaches, but tends to get stuck in the mire of over-processed ideas. “Monkey Man” loses the album’s momentum, but “Warm Stone” recaptures it. This has a mature la saveur to its assemblage– an earthier blend of acoustics. Hypnotize Me” is filler. “Myself,” however, redeems the continuity.