A semi-crappy review of WONDER WONDER by Elizabeth Nottingham that appeared in my very own hometown paper, the Austin American-Statesman…

As Edith Frost’s latest album makes clear, she is a very talented woman.  First, she knows how to make warm country pop that could melt just about anyone, even her notoriously cold sound engineer, Steve Albini.  Second, her voice can croon like Patsy Cline or whine like Liz Phair, sounding equally strong and convincing in either style.  Third, she has impeccable taste in session musicians, who this time include Sea and Cake’s Archer Prewitt, Wilco’s Glenn Kotche and Eleventh Dream Day’s Rick Rizzo.  Last, but certainly not least, she is from Texas.  (OK, that’s not a talent, but it’s still cool.)

So what’s the problem?  The problem is that there is no problem.  Drag City has a reputation for putting out records — even pop records — that are truly uncommon.  Take Gastr del Sol’s "Camofleur," for example, released on the label in 1997.  John Fahey guitar lines knock up against bloopy laptop loops and psychedelic lyrics, some sung by guest vocalist Edith Frost.

Unfortunately, that sort of daring is not at hand on "Wonder Wonder."  Most of the songs are pretty, countrified soundscapes that easily wash over the listener, yet leave nothing memorable.  The sweeping cymbals and tinkling bells are a nice touch on "Who," but the song doesn’t really go anywhere.  However, Frost gets it perfect on "Further," complete with a sliding violin and unsure voice advising "Don’t blow out the candle little girl / Keep a little flicker glowing / Don’t give up the passion little girl / Don’t you ever let it die down."  Hopefully she will follow her own advice, and until then I will wait patiently for her next record (or her next guest appearance).