Muito bom
butter - Removable Beast
Genre: Gentle Americana/folk-pop with female vocals and a cello
The mood of the album is set right from the start, with the urgent shuffle of the opening track, “House Collapse.” “We can buy a silver trailer and roll it off into the night,” moans lead singer Hermina Harold. “We stand on the edge and watch things burn.”
Song after song, the drama of life and the mystery of dreams come burning through, observed at a cool distance yet felt deeply through Harold’s voice. With an unaffected lilt and naked emotion, Harold gives every word weight, even when those words seem to make sense only in her head: It’s hard to say exactly what she means by “cracker bones;” and one is left wondering how He-Man’s old nemesis, Skeletor, ended up in a wistful song framed by cello sighs.
Regardless of the meaning of the specific words, fans of Sarah McLaughlin would be hard-pressed not to hear echoes of their heroine in Harold’s voice as it bathes the oft-unsettled instrumental backdrop in a glistening, warm sheen.
In contrast, there’s a somewhat lo-fi vibe to much of the album, with appearances by a slightly out-of-tune piano, tinny electric guitar effects here and there, and a lack of ambiance in the sound of Martin McCain’s drums. The album’s closing tune, “The Park,” sounds like it was recorded in a grain silo.
Review from the Missoulian (Montana, US)
http://www.mediafire.com/?udoov165yim2oj3
Genre: Gentle Americana/folk-pop with female vocals and a cello
The mood of the album is set right from the start, with the urgent shuffle of the opening track, “House Collapse.” “We can buy a silver trailer and roll it off into the night,” moans lead singer Hermina Harold. “We stand on the edge and watch things burn.”
Song after song, the drama of life and the mystery of dreams come burning through, observed at a cool distance yet felt deeply through Harold’s voice. With an unaffected lilt and naked emotion, Harold gives every word weight, even when those words seem to make sense only in her head: It’s hard to say exactly what she means by “cracker bones;” and one is left wondering how He-Man’s old nemesis, Skeletor, ended up in a wistful song framed by cello sighs.
Regardless of the meaning of the specific words, fans of Sarah McLaughlin would be hard-pressed not to hear echoes of their heroine in Harold’s voice as it bathes the oft-unsettled instrumental backdrop in a glistening, warm sheen.
In contrast, there’s a somewhat lo-fi vibe to much of the album, with appearances by a slightly out-of-tune piano, tinny electric guitar effects here and there, and a lack of ambiance in the sound of Martin McCain’s drums. The album’s closing tune, “The Park,” sounds like it was recorded in a grain silo.
Review from the Missoulian (Montana, US)
http://www.mediafire.com/?udoov165yim2oj3
