haunting

The Woody Nightshade

mandy — Tue, 18 Jan 2011 20:00:00 +0000

Positive reviews litter the internet for Sharron Kraus’ earlier records and got me excited for her new release, The Woody Nightshade. However, the rave reviews made my disappointment with the album all the more palpable.

It took at least three listens on a really good stereo to really be able to appreciate The Woody Nightshade. To make it easy for you, if English folk music that leans on Celtic influences is what you’re into, this might be just the album for you. That said, if you’re looking for something that is instantly catchy with a firm melody or clean harmonies, then you might want to pick up something else.

The lilting dissonant vocals and random strumming that make the songs on The Woody Nightshade blend together into a cohesive work aren't intended to be experimental as much as a contemporary approach to traditional music. Kraus’ voice reminds me of recordings my sixth grade teacher played in class while we were studying the Medieval period. Her voice is simultaneously clear and indecipherable.

While it’s easy to get lost in the web of stringed instruments and to forget that there are words being sung, there’s a lingering melancholy that bubbles just under the simplistic surface of the entire album. Songs like “Evergreen Sisters” are decidedly haunting and the title track is no different; “The Woody Nightshade” is an eerie tune accompanied by vocals so slow and wandering that the lyrics are nearly lost. For Kraus, though, the form closely follows function. The listener doesn’t need to hear the line about the man she watches as “he looks away” to feel that’s what just happened. Her distant voice deftly conveys emotion.

The fifth song on the album, “Once,” is easier to get into for a first-time Kraus listener like myself. She sings simple lines we’ve all heard and thought, but with a relatable, quiet sadness: “Once there was a love, and that came to an end... Once each other’s touch was the thing we lived for.”

The Woody Nightshade is for careful listeners who are looking for sad songs to get lost in.

Written by: Tatiana Ryckman, January 18th 2011

Heartwood

mandy — Sat, 04 Sep 2010 17:26:07 +0000

By Sora

Canada Music

Canadian artist Sora lists Loreena McKennitt as one of her greatest musical influences, a fact that is apparent on her latest musical effort, Heartwood. A beautifully put together collection of songs that conjure up druid celebrations and ancient royal courts, the album is reminiscent of McKennitt's modern Celtic style. Inspiration aside, Sora is very much her own artist and Heartwood showcases her talents as both a singer and songwriter.

The title track is a great beginning to the album, and a wonderful introduction to Sora's artistic abilities. She has a classically beautiful voice that can be strong, airy, or sorrowful. For the most part, Heartwood's tracks are pretty, soothing songs that remind one of laughter, love, and sun-filled days. The album offers some variety with Sora delving into her dark side for a few songs.

The best of these darker tunes is “Eurydice,” a haunting song that possesses a hypnotic beat and seductive lyrics. The instrumentals on the album are also well done, blending perfectly with Sora's vocals. The violin and piano work is especially impressive on “Drift” and “Winter.” On both tracks, the music perfectly sets the tone for the listener before seamlessly weaving itself in with Sora's voice, making for wonderful pieces of audio art.

The cover art on Heartwood is a simple photo of Sora, tinted in warm shades of brown and gold with some etchings behind her. Heartwood also features an insert booklet with the lyrics for each song—something I personally find extremely helpful—as well as photographs of whimsical items such as feathers, leaves, stones, and bits of ribbon. The earthy yet enchanting look reflects the tone of the album and gives the listener a good indication of the mood Sora is trying to set.

With its powerful vocals and mesmerizing instrumentals, Heartwood is an album that will not disappoint. Long-time Celtic fans and those new to the genre should find it a satisfying listening experience.

Written by: Victoria Kroeger, September 4th 2010

Ether: Seven Stories and a Novella

admin — Mon, 02 Aug 2010 00:00:00 +0000

By Evgenia Citkowitz

Farrar, Straus and Giroux

While opening Evgenia Citkowitz’ collection of short stories, the spine creaked in an eerie way far too appropriate for the haunting words among the pages between. In Ether, a collection of seven stories and a novella, Citkowitz captures our attention with seemingly stark characters whose depth is revealed in the strange ways they relate to the world.

Tables, nannies, and even pet hamsters become the vehicles through which characters experience stark realizations about their lives and their positions within them. Citkowitz’ efforts to draw out nuances are visible, but often the nuances struggle to have impact. Entering into a short story with little ground available to paint such rich snapshots of a life often leaves the reader feeling rushed, or worse, at the end of the tale, empty.

The subjects her characters examine—an overwhelming loneliness and sense of questioning—are ones that we may easily identify with as readers, but the stories leave answers either unreachable, or sadly negative. Leaving a family, resolving to accept unwanted circumstances, or worse, having a realization that things are unhappy and unsatisfied, but having nowhere to turn is what the author makes her characters face. The circumstances are realistic—many of us, just like her characters, finally find the answer to our questions. But in this volume, often the answer is most unsatisfactory, and these outcomes leave the reader wounded.

The writing in Citkowitz’ debut book is layered and complex. Readers enter each story seemingly mid scene and are left with a feeling of catching up. Multiple characters and voices layer into the work immediately and though the action may not be fast paced, the reader must stutter step to get on board with the character and identify the lead immediately. This unique exercise does draw a reader in quickly and makes our feelings for them more elaborate; you read shoulder-to-shoulder with the character’s past and present and with their quests for identity or direction; this is a powerful strategy on the author’s part.

Ether isn’t light reading, but is an exercise in elaborate storytelling over a theme. At times, it works too hard and it can often be uninspiring, but the stories’ unique haunting qualities do set them apart.

Written by: Dr. Julie E. Ferris, August 1st 2010

Living Ghosts

admin — Sun, 01 Aug 2010 00:00:00 +0000

By Absinthe Junk

Slotted Spoon Records

Attention all ye steampunk aficionados, Absinthe Junk accomplishes what their name implies—they’re a fitting band for your gears, gadgets, corsets, and metal-worked jewelry! Their press album, Living Ghosts presents an adequate sampling of their haunting metal sound.

A time-tested combination of steely guitars and an ethereal lead female voice place the band solidly within a genre recognized by metal, rockers, and goth fans alike. The difference, however, is that Blair, the lead singer, dabbles in more than a soft-to-screaming vocal. She has a well-supported range and doesn’t mimic an Evanescence sound. Listeners should appreciate this unique take on the genre and this original entry into the field.

Though the band claims many exotic textures layered within their sound, it is worth noting that the primary layer is metal guitar. Keyboard echoes are the next most recognizable supporting sound, but few tunes deviate as readily from a more traditional metal sound as the band purports. To their credit, the band has a few riffs and turns of musical phrase that remind a listener of Abney Park—a more recognized sound in the steampunk/goth genre. Building on the successful sound of this band isn’t mimicry as much as a gesture that places Absinthe Junk solidly in this genre.

The most commercial song on the album is “Dragonflies in Hurricanes” and it’s also the most off-genre. Displaying a haunting country sound, the Nashville-based band weaves a tale of the end of life, a love, a relationship—or all of it—with a more complete sound than the other songs. Blair’s lead vocals are eerily reminiscent of Natalie Merchant and the band’s support rounds out the song in a very recognizable way. Notably, the song feels very different than the rest of the album—which is quite good in its own right—but it is quite powerful.

Written by: Dr. Julie E. Ferris, July 31st 2010

Laws Of Illusion

admin — Sun, 04 Jul 2010 00:00:00 +0000

By Sarah McLachlan

Arista

July 22, 1997 in Mansfield, Massachusetts (at what was then known as Great Woods), I had the pleasure of seeing an amazing group of women perform. Over the whir of blenders and drenched in Frappuccino, I got to hear bits and pieces of the likes of Tracy Chapman, Suzanne Vega, and Sarah McLachlan. But, of course, I was already a fan. I was lucky enough to have been at that first Lilith Fair tour and now, thirteen years later, I hope to be going again. Only this time I won't be wearing a green Starbucks apron.

It's been a while since Sarah McLachlan has released an album and Laws Of Illusion is worth the seven-year wait. Even Mr. Z (who makes fun of me for listening to what he deems "women's music") is a fan and we've been arguing about who gets to take the CD in the car to listen to. This is one of those albums that never makes you hit the "Skip" button on your CD player. Each and every track is wonderful. However, I particularly love "Loving You Is Easy," and can see that it's destined to be one of those classic Sarah McLachlan tunes that will stand the test of time.

If you're a longtime Sarah McLachlan fan, you probably ran out already and bought Laws Of Illusion. If you're new to her hauntingly beautiful voice, what are you waiting for?

Cross-posted at The Review Broads

Written by: Zippy, July 3rd 2010

Arc and Hue

admin — Sat, 27 Mar 2010 16:01:00 +0000

By Tara Betts

Willow Books

It is deeply satisfying to encounter poetry like Tara Betts’. The widely published poet, author, and Rutgers University creative writing professor bears witness to the true grit of life, including poverty and appearance-based assumptions and experiences that categorize one as other, even among an already marginalized population. These experiences, and the enduring human spirit, are what give color and shape to each life, and it is this thematic material that Betts portrays in her debut collection, Arc & Hue.

Rich in vivid images and musicality, this collection is an authentic portal into the very pulse of life. With the use of repetitive forms like sestina and canzone and the smooth lyrical flow of her free verse, Betts’ poems are imbued with hope, strength, and beauty amid trauma, violence, and the isolation of otherness.

From the weight of death and violence to the vibrancy of moments both ordinary and momentous (lynching, hair care, Hurricane Katrina, lovemaking, pestilence in the slums), each poem is consistently resonant and haunting. Betts can be humorous and playful with form, yet still communicate something substantial, as she demonstrates in “A Survey on Enjoying Verse” and “Neruda’s Email to Slam Poets.” The anxiety and desire of an urban pulse throbs in the strong, sensual language of “Block Party Speculation” and the grief of domestic violence and miscarriage are washed with the power of loving someone new when the narrator stands in the shower with both loss and renewal in “When I First Listened to Billie.”

Arc & Hue crossing my path further fuels my hope that one can indeed maintain awareness of and connection to the world beyond ourselves through the work of poets and artists. A visit to the writer’s blog clued me in to her extensive publishing history—from erotica to live theater to an upcoming young adult novel and a second collection of poetry. Betts is also active in literacy and girls’ empowerment projects, and she has performed her work around the world.

Written by: Matsya Siosal, March 27th 2010

The Lotus Eaters

admin — Mon, 22 Mar 2010 08:00:00 +0000

By Tatjana Soli

St. Martin's Press

When I read a book that keeps me enthralled to the final page, that is so absorbing I have to tear myself away from it, I find myself amazed (and envious) that anyone can be so gifted. That’s how I felt after reading The Lotus Eaters.

Having attended my share of writing seminars, I realize you can’t really soar as a writer until you have truly mastered the craft; however, some writers seem to have talent that defies reason. A few paragraphs into this novel, I realized Tatjana Soli's powerful prose would haunt me.

I rarely read war novels, but the plot of this one intrigued me. The main protagonist is Helen Adams, a young American photojournalist covering the Vietnam War, and in Helen, Soli created a character that is complex, courageous, and real—yet flawed at the same time. Both Helen’s father and brother were in the military, and her brother lost his life in a Special Forces operation in Vietnam. Helen always felt excluded by the camaraderie between her father and brother, and she is plagued by the sense of having something to prove. This lingering demon has driven her to being in the midst of this historic point and place in time, and Helen is willing to risk almost anything to get a defining, iconic photo. Many of the characters in this novel are addicted to war, like a drug that must repeatedly enter their bloodstream.

Within hours of arriving in Vietnam, Helen meets Sam, a legendary war photographer, and Linh, a Vietnamese photographer and translator. Sam becomes a mentor and guide to Helen, who quickly learns that women are not welcome in the macho world of war. Linh helps her to navigate the murky landscape of a dangerous country that is shifting on a regular basis. Helen's human interest assignments also shift as her willingness to take risks proves her mettle as a serious photojournalist.

Soli's prose is gripping, moving, and unflinchingly places you in the middle of the action. I had to stop reading from time to time because the story affected me in a way that was hard to shake off. Told through the multiple viewpoints of Helen, Sam and Linh, we get a 360-degree view of the nightmare that is war and the bond these individuals developed with each other.

I was deflated and relieved when I turned the final page of The Lotus Eaters. It was unlike any other book I’ve read recently: beautiful and somewhat unsettling. If you want to know how to write a great novel, ask Tatjana Solis.

Written by: Gita Tewari, March 22nd 2010

I've Been Here the Longest

admin — Tue, 29 Dec 2009 01:00:00 +0000

By Puracane

I’m always on the lookout for a great female lead singer, a strong group with an even stronger style and personality. They seem to be so few and far between, and a lack of maturity on the part of the lead is often the demise of a great band with such possibilities. I’m fond of talking about fabulous bands that would have been so much better—and lasted for more than a single album—if they’d found a great frontwoman to bring it home. Puracane is fortunate to have such a magnificent lead.

The hauntingly beautiful melodies and strong lyrics make I've Been Here the Longest a great addition to my library. I was immediately taken in by vocalist Ali Rogers unique, slightly haunting voice and strong songwriting style. Slightly reminiscent of Supreme Beings of Leisure, I've Been Here the Longest includes a number of songs I’ll put on repeated play on my iPod. I found myself reminiscing about the first time I heard Portishead, and that moment of “wow” that occurred when I realized I experienced something completely magical.

Lyricist and vocalist Rogers started Puracane in 2000 in New York. I took the liberty of listening to the earlier works and have to admit, I am most taken with this recent effort. Its maturity and allegiance to simple yet electrifying, sometimes heart wrenching passion, is the most wonderful musical experience I’ve had this year. I’m disappointed when the best is over, somehow longing for more.

Now a four-member band, including Rodgers, Juan Masotta (who brings amazing talent to the group), Andrew Griffiths, the shared Bass talents of Drew Thurlow & Paul Simon, and the amazing violin of Tony Diodore fill out the dance card nicely. From the memorable "Watershed" through a wonderful and striking "Riddle Me This," all the way to the undeniably original "Sirens," Rodgers sings her soul out and makes me wish for more tracks on a cold autumn night. Or, to live in NYC where I could see them live. I bet that is something to behold. This is the kind of music that gets me home through a tough rush hour commute and makes me happy to share with friends over a warm drink.

I spent quite a bit of time deciphering lyrics, which I never do unless I’m intrigued by the writing. A strong writer is, after all, the best songwriter on the planet. I love it when an album tells a story, and I've Been Here the Longest tells an amazing, maze-like story from beginning to end. All of these songs stand alone wonderfully, but put them all together and it’s like caramel sauce on an ice cream sundae, maybe even with a little whipping cream: decadent yet greatly anticipated and leaving me wanting more.

Written by: Rachel Petzold, December 28th 2009

Jessie Murphy in the Woods

admin — Sat, 28 Nov 2009 01:00:00 +0000

By Jessie Murphy in the Woods

Rex Records

While some might not be into the cutesy, fairytale-like sound and lyrics of the New York City pop-folk group Jessie Murphy in the Woods, there is no denying the magical harmony produced by the three talented women. These five tracks, a demo of their debut album Eight Belles, are a collaboration project lead by singer-songwriter Jessie Murphy (vocals and guitar) and featuring her friends Marcia Webb (vocals, Wurlitzer, flute and pan pipes) and Amy Stratton (horn, flute, percussion and organ). The trio of women, all music teachers in New York City, met at Columbia University in 2008 while pursuing a Master's degree in Music. Since then they have toured both North America and the United Kingdom.

Noted for their anti-folk style, the group tries to avoid the constraints of stereotypical, over-commercialized music with their unique instrumental and vocal sounds. With a sound less pop than similar artists, such as Au Revoir Simone and Feist, the album is a beautiful mixing of clear vocals, bells, pretty harmonies, and poetically melancholic lyrics. This combination creates an ethereal, magical, and at times, haunting quality that resonates throughout the album.

The five tracks on the album have lyrics about life, horses and love lost, especially the loss of child-like innocence, a literary theme that many can relate to. While I am more attracted to music with an edgier sound, I can appreciate Jessie Murphy in the Woods' talent. Their smooth, lullaby style makes this music an excellent soundtrack to my cooking with my dear friend and roommate Sylvia, who is a creative fiction writer and lover of fairytales.

Starting off with the sorrowful “New York City Lights,” the album continues with “In the Woods,” which invokes images of A Midsummer Night’s Dream. This is followed by the simplistic, pure acoustic sound of “God Save Owen Wilson.” Finishing off with their most popular songs “When I am a Horse Again” and “Eight Belles,” a eulogy to a horse that died in the 2008 Kentucky derby, the demo is a beautiful representation of the group’s songwriting and harmonies, and well worth a listen.

Written by: Abigail Chance, November 27th 2009

The House of the Devil

admin — Mon, 26 Oct 2009 17:11:00 +0000

Directed by Ti West

Glass Eye Pix

When I realized that tongue-in-cheek horror writer-director Ti West's latest was produced by the same company that brought us last year's delightful horror comedy I Sell the Dead, I'll admit my own personal bar was raised ten-fold. But while the 80s-inspired haunted house throwback delivers a healthy dose of nostalgia, The House of the Devil is otherwise mostly dissatisfying.

The film's opening sequence, while pointlessly lengthy, has an excitingly reminiscent feel: the camera alternately meanders and freeze-frames on young Sam (Jocelin Donahue) as she walks from her apartment to her college campus, listening to a clunky period walkman that blasts an upbeat synth-y tune. Unfortunately though, the "pointlessly lengthy" doesn't stop there. It takes about forty minutes of non-scenes post-opening (featuring some cringe-worthy non-acting by Donahue) to reach our creaky country mansion so the actual horror can finally begin.

Tom Noonan and Mary Woronov are the film's saving graces as Mr. and Mrs. Ulman, the disconcerting owners of the house. Both actors manage to simultaneously charm the audience and make us savagely uncomfortable. Even though there is something unarguably off about the two, we find ourselves hoping that their bizarre request for Sam to babysit Mrs. Ulman's mother is actually genuine.

There is a slew of feminist literature on the films from which The House of the Devil is derived, particularly on characters like Sam, known as the "final girl" archetype. Like the Jamie Lee Curtises and Neve Campbells before her, Donahue is meant to be a bit of a paradox: alluring but virginal, both victim and survivor, just helpless enough but too cunning to actually fall at the hands of her monster. Somehow though, West manages to miss the cunning part completely, leaving a young woman who miraculously survives despite making mistakes of the caliber usually reserved for the genre's dizzy best friend character (played here by the wonderful Greta Gerwig) or fake out protagonist (see Psycho's Janet Leigh or Drew Barrymore in Scream). Acting aside, Donahue isn't given much of a character with which to start.

Still, the time Sam spends exploring the house solo, though drawn out, is awfully disquieting. West's cinematography builds a sharp sense of doom, seemingly from thin air. Ultimately, however, the payoff doesn't nearly fit the buildup, and we're left with nothing more than a lame, half-assed rip-off of Rosemary's Baby. Perhaps West should have spent less time on foreplay and a little more time on the main event.

Written by: Caitlin Graham, October 26th 2009

Bitte Orca

admin — Wed, 09 Sep 2009 23:07:00 +0000

By Dirty Projectors

Domino

At times the catchy melodies and ironically jarring harmonies found on Dirty Projectors’ latest album, Bitte Orca, seem surprising, and at other times, perfectly in place. From the very first listen the Dirty Projectors certainly project something interesting. It’s the sort of sound that makes you ask, “Do you know who this is?” And for the first time in months you genuinely consider paying for the music that has somehow found its way into your head.

Bitte Orca is yet another disc from the collective’s leader, Dave Longstreth, who formerly put together an alt-rock version of Black Flag’s famed Damaged EP. Longstreth is known for masterfully grinding pleasant chords into more experimental songs, and this album is no exception. Equal parts fresh, glowing pop and adult musical genius, Bitte Orca fits well in the ringleader’s reservoir of music.

While the members of Dirty Projectors are in a state of flux from record to record, Bitte Orca was put together by a spectacular cluster of musicians in addition to the single constant member, Longstreth: Amber Coffman (guitar and vocals), Angel Deradoorian (bass and vocals), and Brian McComber (drums). Sometimes sing-songy, sometimes haunting, and just as frequently introspective, the group’s collaboration has resulted in an album easily described as a success. The two women (Coffman and Deradoorian) who support the music with their wistful voices also act as the cover of the album for the new release. Longstreth poses solo on the back.

Currently on tour, Dirty Projectors are playing the last of their sold out shows around the US and moving on to Europe through September. If given the opportunity to catch the band live, you might want to jump at it. Or, if you just want to see what you might be missing out on, give the band a listen on their Myspace page.

As a whole Bitte Orca seems fitting for a warm day with a light breeze—nothing too heavy, and though there’s no promise you’ll dance, there’s a very good chance you’ll feel good about what you’re listening to.

Written by: Tatiana Ryckman, September 9th 2009

To Survive

admin — Tue, 19 Aug 2008 23:27:00 +0000

By Joan as Police Woman

Cheap Lullaby Records

The name Joan Wasser is not well-known to most people, but it should be. Collaborating first with bands like The Dambuilders in the ‘90s and, more recently, Antony and the Johnsons, Joan Wasser first came onto the music scene as Joan as Police Woman in 2006 with her debut album, Real Life. The album was critically acclaimed for its haunting honesty and beauty, and her sophomore release, To Survive, fortunately sticks with that formula.

The ten tracks on To Survive are soulful. Wasser ranges from sounding like Kate Bush to Chan Marshall to Neil Young with a common thread of vulnerability. While Wasser’s lyrics are far from self-assured, their honesty is the most appealing thing about To Survive. She does not convey the voice of a strong woman, but one that life has kicked around quite a few times and is looking to hold on to something or for someone to hold on to her.

The album is hopeful and realistic. In the title track, Wasser conveys that life is not perfect, and in times of depression and loneliness, you must just find “the spark to survive.” For Wasser, that spark appears to be love. The album ends with “To America,” a duet with Rufus Wainwright in which the lyrics warn not to starve yourself of love because it will save you. This realization explains the importance and urgency Wasser places on love throughout To Survive and the beautiful, building duet is the perfect ending to an album about the imperfections and loneliness of life and the things that can rescue you.

Written by: Jill Hindenach, August 19th 2008

Gea

admin — Tue, 22 Jan 2008 13:11:00 +0000

By Mia Doi Todd

City Zen Records

When Mia Doi Todd’s _The Golden State _was released in 2002, I thought her work was oddly impressive. Her strange voice as captivating; if not always soothing or particularly enjoyable, it impressed me and kept me tuned in. Her first (and only) major-label album, it compiled tracks from her previous independent records, and it looked like Todd might Sony/Columbia Records’ new “it” girl.

Time passed. Her contract wasn’t renewed. She contributed to other, better known musicians’ projects while two more solo albums came out to much less critical acclaim. Gea, her latest effort, arrived at my doorstep weeks ago, and sadly, I can barely manage to listen to the entire record despite its short length of ten tracks.

Todd is a unique hybrid of American East Coast woodsy and East Asian influence. Practically unclassifiable, her insanely minimalist music doesn’t make sense to a lot of people. Often only a piano or guitar accompany her haunting voice, and she is also known to remix much of her own work and create new albums from it (which is an odd choice considering much of it isn’t particularly well received these days anyway). I’ve never known anyone who was a rabid Mia Doi Todd follower, and recently, when I played a Gea track for a friend with no information or introduction, he asked if Todd wasn’t a slower, less Celtic Loreena McKennitt. Ouch.

I can’t give Gea my love because it’s boring and painfully repetitive. It also bears too close a resemblance to every other Mia Doi Todd track I’ve heard, and this sadly doesn’t impress me. I wanted to stand confidently behind her latest effort, but Todd’s voice and songwriting skills are much better suited for collaborations than her own solo career. I hope she’ll consider doing more partnered work in the future.

Written by: Brittany Shoot, January 22nd 2008