Archive for February 1999

Rockpile review

A review by Peter Bothum that appeared in the March 1999 issue of Rockpile

Edith Frost’s timing couldn’t have been better.  The softie, punchless poutings of the Sarah McLachlans and Paula Coles and Alanis Morissettes have the eyes and ears of Grammy.  Brilliant troubadours like Shawn Colvin and Lucinda Williams are getting their due.  Even Liz Phair decided to resurface.  Let’s face it — women have arrived in the world of music.  And with a rich, morphing sophomore effort like Telescopic, Frost might be ready to take the world by storm.

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Puncture review

A review by J Neo Marvin that appeared in the March 1999 issue of Puncture

Somewhere between a more well-adjusted Chan Marshall and a shyer Mary Timony, Edith Frost’s voice has a ghostly quality all its own.  Floating wispily above a lazy, strummy backing, the voice at first listen sounds so subdued it’s barely there at all.  Listen again and you realize that wan whisper you took for granted is skillfully navigating some amazingly improbable melody lines, meanwhile creating a subtly powerful, seductive atmosphere.

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No Depression show review

Excerpted from a show review by Linda Ray that appeared in No Depression #20 (March-April 1999). It’s reviewing a HONKY TONK LIVING ROOM showcase at The Hideout (Chicago, IL) that happened on December 17, 1998.

<…> Frost’s solo acoustic set applied her signature drawling, bass-heavy strumming and cliff-dangling vocals to covers of songs recorded mostly by country women: Janis Martin, Patsy Cline, Kitty Wells, the Maddox Brothers & Rose, and Patsy Montana.  Amid the inevitably informal setting that included a six-foot stuffed blue marlin as the backdrop, an ancient red replica of a persian rug as the dance floor, and the owners’ golden retriever cruising for pats on the head, Frost decorated her occasional goof-ups with the sort of giggles common among family and friends.  <…>

Jim O’Rourke: Eureka

Jim O'Rourke: EurekaJim O’Rourke: EUREKA
©1999, Drag City
Purchase at Amazon

I did backup vocals with Teria Garteris on Jim’s cover of the Burt Bacharach song "Something Big".

Pitchfork review

A review by Ryan Schreiber that appeared in Pitchfork

"Stop what you’re doin’/ ‘Cause I’m about to ruin/ The image and the style that you’re used to." That’s not how Edith Frost’s Telescopic kicks off; it’s the first line from the Digital Underground’s "Humpty Dance." But wouldn’t it be something to hear Frost get dirty on the mike?

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Hanging out at John’s

Note: This is a journal entry — it was written on paper or on my computer, then transferred to my website, maybe years later.


I’ve got so much to do and all I’m doing is making LISTS of everything I need to do.  My life is way too complicated and it’s always getting worse!  When I’m on tour it’s all pretty simplified ’cause there’s only so much you can do when you’re not at home.

John fixed me a wonderful lasagna dinner last night.  I didn’t even leave his place all day yesterday! We’re spending the night at my place tonight, to vary the routine a little.

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Plotting tours

Note: This is a journal entry — it was written on paper or on my computer, then transferred to my website, maybe years later.


I just found out that Amy Domingues can do the tour in April with me & Danielson! Me on guitar and Amy on cello… should I think about a third person? Maybe Julie Pomerleau on violin?

I ran a buttload of errands yesterday — to Flower to pay the booking fees on the Lullaby tour; to the bank; to Drag City to turn in the extra merch and the pager, and pay off what I owed on merch.  Jeremy was well pleased with all the press I’d collected.

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Notes from home

Note: This is a journal entry — it was written on paper or on my computer, then transferred to my website, maybe years later.


It’s so great to be back home.  The Chicago show at Empty Bottle was soooo excellent! It was totally packed.  What a thrill to look over all those HEADS. Chris Mills opened with his "acoustic set" — which just means he was playing an acoustic guitar, he was still loud as fuck.  :-)

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Empty Bottle (Chicago, IL)

Played at the Empty Bottle with Lullaby For The Working Class and Chris Mills

My band: Ryan Hembrey (bass, guitar), Jason Adasiewicz (drums, glockenspiel), Mike Mogis (pedal steel), Shane Aspegren (percussion), Ted Stevens (harmonica)

Notes from Iowa City

Note: This is a journal entry — it was written on paper or on my computer, then transferred to my website, maybe years later.


Whoah, I got totally interrupted there! Denver really sucked, it was by far the worst show we’ve played.  We had a good show in Lawrence KS last night — sure had trouble getting there from Denver though.  Weather shit of course… we tried to leave that night after the show because the drive was so long, but the highway was an ice rink and we actually had to double back towards Denver to find a motel.  We’re in Iowa City now, at Gabe’s Oasis… I’m watching the merch table while Lullaby plays their set.  This is the last show before we go home to Chicago for a show @ the Bottle tomorrow.  The audience is being really noisy; it’s Friday so I guess they’re just here to drink and party.  I can’t wait to go home — I’m so grumpy and punchy from touring so long.  Whine whine.

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Gabe’s Oasis (Iowa City, IA)

With: Lullaby For The Working Class; Brother Greg & the Signifiers

My band: Ryan Hembrey (bass, guitar), Jason Adasiewicz (drums, glockenspiel), Mike Mogis (pedal steel), Shane Aspegren (percussion), Ted Stevens (harmonica)

The Bottleneck (Lawrence, KS)

With: Lullaby For The Working Class

My band: Ryan Hembrey (bass, guitar), Jason Adasiewicz (drums, glockenspiel), Mike Mogis (pedal steel), Shane Aspegren (percussion), Ted Stevens (harmonica)

Daily Herald review

A review by Mark Guarino that appeared in the Daily Herald (Chicago, IL)…

Edith Frost dips into fuzz-drenched folk on ‘Telescopic’

From her last name, you’d expect Edith Frost to be an ice queen supreme and in a way she is.  Her whispery, removed vocals make her sound like fine china — any sudden chink in the music and she’d shatter.

But Frost is more delicate than dangerous.  The damaged love songs that make up her second album "Telescopic" (Drag City) are orchestrated so minimally they’re like a 40-minute session in hypnosis.  When she sings, "you hold me / underneath your spell" (on "Walk On The Fire"), she’s not kidding.

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15th Street Tavern (Denver, CO)

Played at the 15th Street Tavern with Lullaby For The Working Class and the Foggy Mountain Fuckers

My band: Ryan Hembrey (bass, guitar), Jason Adasiewicz (drums, glockenspiel), Mike Mogis (pedal steel), Shane Aspegren (percussion), Ted Stevens (harmonica)

Notes from Denver

Note: This is a journal entry — it was written on paper or on my computer, then transferred to my website, maybe years later.


I’m in a Starbucks in Boulder, Colorado.  We played in Salt Lake City the other day — met & stayed with a cool couple named Glade & Davina.  We had yesterday to drive to Denver for the next show but ended up in Boulder (~20 minutes away) so we could spend the night with Ryan’s friends Matt & Shannon.  They were having a dinner party when we got there last night — I wasn’t really up for the socializing but whatever — beggars can’t be choosers!

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