Ariel Posen
Reasons Why
MFM
3 out of 5 Stars
Ariel Posen treads a fine line between soul, modern rock, and a rootsy regimen. In a way it retraces certain influences, but on the other, it pushes some parameters and establishes Posen as an artist with a voice that’s decidedly his own.
He’s won a fair share of kudos for doing exactly that, but given the fact that he’s based in Canada, much of that acclaim hasn’t quite reached the Lower 48. Not that he’s undeserving. His sound is readily pop-centric, and given the subdued yet sensitive sounds of “Feel This Way Too,” “Always Moving On” and “Learning How To Say Goodbye” not to mention the otherwise agitated approach taken with “Time Will Only Tell” and “Broken But I’m Fine,” he’s easily able to convey his overtly emotional perspective. The forthright propulsion borne by songs such as “Man You Raised” and “So Easy” all but ensure that sonic connection, enhancing a certain contemporary credence in the process.
Videos by American Songwriter
On the other hand, it’s hard to deny the notion that Reasons Why is, at its core, a break-up record conveyed from a highly personal perspective that offers the opportunity to vent his tattered feelings following the break-up he references in several of these songs. The trouble and turmoil that can accompany any difficult relationship—whether it’s friendship or romance—are evidenced throughout, whether referenced in the first person or through outside observation.
It’s claimed that the title itself refers to how and why individuals act, and how those choices can further affect one’s own psyche and the feelings of the others involved. Given the tone and treatment of these songs, that premise is never in doubt.
Clearly, Posen was aiming to create an insightful effort, and while popular music rarely works as a substitute for a psychiatrist’s couch, it does allow listeners to see themselves through the eyes of an artist. Dylan’s Blood on the Tracks was an ideal example, mainly because it framed desire and disappointment within the context of specific circumstances. Here, however, Posen comes more directly to the point. For example, “Didn’t Say” lays its aim out simply and directly:
Can we give it one more try,
You were right,
If I could I would go back,
Hold on to what we had…
In that regard, Posen leaves little room for interpretation. Relying on both critique and confession, it’s wholly self-absorbed, requiring empathy—and indeed, sympathy—in order to relate to Posen’s premise. He’s apparently been through some tough times, and those who can relate might be relieved to know they needn’t feel alone.