Natalie Merchant is fragile steel. Above Manhattan's urban clamor, far from Jamestown, New York, a rural sanctuary which 10,000 Maniacs call home, she puts forth her polite, icy best (cocked head, matter-of-fact attitude) reserved for journalists whom she holds partially responsible for the band's often inaccurate, depressing public image. In fact, Merchant holds them responsible for many public misconceptions: "The media create smokescreens to divert attention away from serious events like the S&L scandal which is robbing every man, woman and child of thousands of dollars."
Merchant, 10,000 Maniacs's passionate muse, thrusts all of her energy into the music. She claims the need "to live alone to be totally focused. I'll play the piano without a break 'til five in the morning if that's what I feel like doing." If the new album, Our Time in Eden (Elektra), is any indication, this method of creation works. Her lyrics search for the paradise modern religion states cannot be re-created. She challenges this notion, infusing her biblical allusions with the power of sheer emotion and personal conviction.
Social consciousness and spirituality are recurring dreams in Merchant's lyrics. Although Eden is decidedly cheerier than previous albums, it is clear that neither her social concern nor the band's energy has dissipated. The album's melodies, centered around a craftily arranged assortment of string instruments ranging from the mandocello to the pedal string guitar, showcase Merchant's recognizable piano. Unafraid of musical experimentation, the Maniacs asked funky R&B section JB Horns to join in on two tracks, resulting in reach-out-and-grab-you rhythms and fills which lend solid support and harmony to each melody.