Review in Philly City Paper

A review by A.D. Amorosi that appeared in the Philadelphia City Paper in the issue of September 20-27, 2001…

Recently I stumbled across two delicious reissues of oozy-hippie songstress Margo Guryan: Take A Picture and 25 Demos (Franklin Castle).  These two chamber-’60s efforts’ avant-hillbilly lilt, flute-y flightiness, sun-strewn feel and melodicism set a perfect stage for Guryan’s cool yet pleading voice.  What the hell does this have to do with Edith Frost?  That this eerie sun-dappled bit of erotica could be the work of Frost’s mom.

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Weekly Dig review

A review by Andrew Katchen that appeared in the September 19-26, 2001 issue of the Weekly Dig (Boston, MA)…

Is it country, is it post-rock or is it just good ole acoustic rock?  During the span of her career, Drag City recording artist Edith Frost has certainly dabbled in cross-pollinating all these particular genres, thus creating a style all her own.  Her newest album, Wonder Wonder, calls on many an indie superstar for assistance, ranging from the Sea and Cake’s Archer Prewitt to uber-producer Steve Albini.  The twelve-song recording offers up a mellow blend of laid-back, down home songs with melodies that must have been blown into the Windy City via a rickety Memphis roadhouse.  <…>

Philadelphia Weekly review

A review by Liz Spikol of my album Wonder Wonder that appeared in today’s issue of Philadelphia Weekly

In 1999, in a review of Edith Frost’s second full-length, Telescopic, David Keenan wrote in Wire magazine, "It’s rumored that the album was originally fully orchestrated, but Drag City ordered it to be stripped back to basics.*  Now there’s a potential bootleg worth killing for, if only to hear Frost nuzzling up to strings."  Keenan must be thrilled by Frost’s latest album, Wonder Wonder, also on Drag City, which has no shortage of strings.  It is, in a word, lush.

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Austin American-Statesman wonders not

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.)

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Wilmington show preview

A show preview by Amanda Sawyer that appeared in the September 13-19, 2001 issue of Encore Magazine (Wilmington/Cape Fear, NC)

Eyes & Ears – Edith Frost

Struggling to find a way to describe Edith Frost is perfectly natural when you consider the circumstances.  A thirty-something native Texan who has stopped off for several years in Brooklyn and now calls Chicago her home, Frost recently released her third set of original folksy pop/country songs, Wonder Wonder, on the Chicago indie label Drag City.

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Hitch review

A review by Rod Lott that appeared in the Fall 2001 (#27) issue of Hitch Magazine. I’m not sure exactly when it came out.

A voice this mighty in its own wee way can only come from Texas.  Sure enough, Frost hails from the Lone Star State and pays tribute to it on the foot-tapping "Cars and Parties."  Intelligently written, it could be an anthem if it weren’t smartly bouyed by somber strings.  The rest of Wonder Wonder is comparatively downbeat, comprised of quiet folk songs with a twisted wit.  The title track is wonderfully disorienting, while "Dreamers" is simply gorgeous.

Giant Robot review

A review (author unknown) that appeared in the Fall 2001 (#23) issue of Giant Robot. I don’t know the exact date the issue came out.

From her ’70s logo to her mellowest sleepy ballads, Edith Frost can reach from the depths of her diaphragm like Will Oldham but also bring it up to a cuter tone. The sound of country, a little folk, and some lullabies make up this album. It’s an easy-listener. Some songs are acoustic guitar-led with side musician help, and others are full-on band songs that can get eerie at times. Wonder Wonder takes listeners into familiar Drag City territory. It’s sedating and hypnotic.

Dagger review

A review by Tim Hinely that appeared in the Fall 2001 (#29) issue of Dagger (Portland, OR). I don’t know exactly when the issue came out.

I didn’t like Edith Frost’s debut ep from a few years ago then loved her debut lp Calling Over Time. The bits I heard of her next record, Telescopic and now comes this, Wonder Wonder and she’s back on track: I love it! I guess I should buy every other record she releases. Frost paints pictures in the singer-songwriter vein and does so w/ a lovely voice (not unlike a Liz Phair w/ a slightly country feel) guitars strummed into minor chord heaven, and a twinkle of piano here and there. "Cars and Parties" and "Hear My Heart" are both whispery and lovely while the title track shuffles along at an oom-pah beat. When she gets a bit louder and more dramatic (ie: like on "The Fear") I like it less and I still think Calling Over Time is her masterpiece but Wonder Wonder has many high points too and just adds another feather in Edith’s already loaded cap.

Magnet review

A review by Joe S. Harrington of my album Wonder Wonder that appeared in the September/October 2001 issue of Magnet

A charming torch-song masterpiece from this non-chirpy chanteuse, Wonder Wonder recalls the golden days of the pre-Lilith era — think incandescent albums like Cath Carroll’s True Crime Hotel and Jenny Mae’s There’s A Bar Around The Corner… Asshole and even lesser lights like Lida Husik and you’d be on the right track.  Edith Frost is the possessor of a dusky pair of pipes, and she knows a thing or two about arrangements, making songs like the title cut absolutely irresistible trinkets of new-wave bumpkinism.  Supported by delicate underpinnings of guitar and piano, Frost’s sweet voice proves itself a dynamic vehicle for either the weepy backporch lament of "Hear My Heart" or the waltz-like dirge of "The Fear."  Throughout, she warbles with implacable richness and beauty and the kind of unaffected charm that’s as soothing as a mouthful of warm honey.  Wonder Wonder is the album Liz Phair should’ve made after Exile In Guyville; its genuine maturity trumps high-gloss AOR over and over again.  Don’t miss it.

Orange County Weekly review

A review by Kristin Fiore that appeared in the Orange County Weekly in the issue of August 31 – September 6, 2001…

Sometimes feeling bad sounds pretty darn good. Frost’s third full-length album finds her wondering (repeatedly) about the possibilities and limitations of love. Some lines can border on the mawkish ("Let me melt into your starry eyes"), but most ring true, especially when filtered through Frost’s smoldering alto. Her vocals are a perfect match for the fireside intimacy of the acoustic, often country-inspired ballads that make up much of the album.

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Splendid E-Zine review

A review by Jason Broccardo that appeared today on the Splendid E-Zine website…

I can’t think of a better singer for this to happen to.  With two albums and a handful of EPs and singles released in the past six years, and twice that many years spent performing, it is time for Edith Frost to get a big push.  As a member of the Drag City roster, one can’t expect a promotional blitz on the scale of a Jennifer Lopez or a Missy Elliott, but there is a definite feeling that the label is completely behind Wonder Wonder.

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The Stranger review

A review by Nate Lippens which appeared in the August 9-15, 2001 issue (Vol. 10 No. 47) of The Stranger (Seattle, WA)…

EDITH FROST: Wonder Wonder (Drag City) ***
Since departing American-trad territory as a member of the Holler Sisters and Edith and Her Roadhouse Romeos, Chicago transplant Edith Frost has explored moody, contemplative songs with whispery aplomb. Her debut, Calling Over Time, showcased her cool, clear, dulcet-voiced take on Americana shaded with minor-key melodies reminiscent of an earthier early-’70s Joni Mitchell. Its follow-up, Telescopic, was an atmospheric affair that displayed a bleary-eyed, introverted psychedelia similar to Syd Barrett and Skip Spence. With Wonder Wonder, Frost finds the balancing act between the sounds of those albums, more in league with her 1999 single Love Is Real. The dozen songs are subtly powerful, implying emotional depth rather than spelling it out. By the finale, "You’re Decided," the strange hypnosis of the album has opened up matrices of memory and emotion, offering dusky refuge from troubling loves and losses in the lilt of Frost’s voice.

Exclaim! review

A review by James Keast that appeared in the August 2001 issue of Exclaim! (Canada’s Music Authority)…

Chicagoan Edith Frost’s third album continues the path of heart-wrenching, introspective and beautiful songwriting, backed with simple, spare arrangements and her haunting, hint-of-twang voice. She comes by her portion of Southern country honestly, having toiled in several different country and Western swing bands before landing in the Windy City and on Drag City, following like-minded singer/songwriter Will Oldham. Frost isn’t nearly so lackadaisical and contrary as Oldham, and Wonder Wonder shines with some hope and brightness that makes it mellow but not dark. Members of Eleventh Day Dream, Sea and Cake and other Chicago notables appear to back her up, but Frost could caress her guitar and whisper in the corner and demand to be heard.

Venus review

A review by Dina Hornreich that appeared in the August 2001 issue of Venus (Chicago, IL)…

It is easy to like Edith Frost.  She designed her own web site (  She was signed to her record label, Drag City, after writing them a fan letter about Will Oldham.  She runs a mailing list just for her jokes (not the annoying chain letter kind, either).  Her lyrics are sincere and the music is simply amazing.  As my Jewish grandmother would say, "Vuts nawt to like?"

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Lumpen review

A review by Cowboy Joe Collier that appeared in the Summer 2001 issue of Lumpen. I don’t know the exact date the issue came out.

Moving onto another outstanding Drag City offering, let’s hear it for Edith Frost!  Wonder Wonder is her third LP, and maybe her best.  This CD blows the doors off, a neat trick for such a meticulously crafted, delicate and beautiful piece of work — can’t even feel the blow.

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