Kathleen Edwards' journey far from over The fourth album from the Canadian singer-songwriter finds her ditching the country-rock stylings of yore and opting for a sweeter, more melodic approach. Her voice - clear, strong, streaked with a wintry melancholia - is at times eerily reminiscent of Laura Veirs, as is the way the melodies elegantly twist away from predictable paths. Edwards has enlisted help from various quarters, notably her co-producer, partner and multi-instrumentalist Justin Vernon of Bon Iver, but also including Norah Jones, Stornaway and Vernon's bandmate Sean Carey. Also present are members of her regular touring band, among whom is the forbiddingly named Gord Tough on guitar. The opening Empty Threat is a pleasant, mid-tempo affair made piquant with a hint of steel guitar, but the following Chameleon/Comedian shows Edwards at her best, as does Change the Sheets, both of which have a lovely, haunting quality. Guitars tastefully abound, heard to particularly good effect on Going to Hell and For the Record, the latter also featuring a charming xylophone accompaniment. If I had one mild criticism of the record, it would be that there is nothing particularly original here, nothing to frighten the horses, so to speak. That, however, is a mild quibble, because Voyageur has been put together with impeccable care and attention to detail and is adept at delivering pleasurable frissons. Any collection that contains a ballad as pretty as House Full of Empty Rooms is worth serious consideration. Rating: 4 out of 5 Pete Clark London Evening Standard				Album reviews Feature articles Interviews Show reviews