A review by Michael Jolly that appeared in Entertainment Today (Los Angeles, CA)…
With her forbidding, Victorian-sounding name and haunting songs, it’s tempting to romanticize Drag City songstress Edith Frost as some sort of distant, enigmatic poet; yet a visit to her homemade webpage reveals a warm, disarming person who really wants to share her songs with the public. Regardless of her ersonality, she continues to weave an enchanting musical tapestry with her latest album, Telescopic.
Frost’s debut full-length Calling Over Time was a real find, a captivating and austere distillation of American folk that conjured up the lonely, wastelands of some mythical Midwest. Telescopic’s opening track, "Walk on the Fire," signals a somewhat different affair, as it begins in a glorious racket of abrasive guitar, crashing drums and rumbling bass. But, lo and behold, here come the same somewhat-fragile, ethereal vocals rolling above the fray. Telescopic is a fuller-sounding recording to be sure, but it’s hardly over-produced. And in a way, the clanging guitar lines, scraping cellos and sharp cymbals convey a similar harshness as the skeletal arrangements of her first record.
At first listen, the album seems like a paler retread of Calling Over Time, somewhat scarce on tunes. But once you adjust to Frost’s measured pace, the melodies start to sink in. Frost sings mostly love songs, though not usually cheery ones. She summed up her philosophy on her first album when she sang, "I don’t wanna be too happy/Just enough to keep me goin’."
Frost gets a lot of mileage out of the simplest of songs as with the spacey title track and "On Hold," which makes do without a chorus and hardly any verse. The seductive "Walk on the Fire" reveals a new toughness, while the rollicking "Bluish Bells" and "My Capture" ("I’m a hungry tiger in a kitten suit") get more than a bit playful. The producers, Adam and Eve, cloak Frost’s compositions in suitable instrumental attire, especially the mournful violin on the loverlorn "Tender Kiss."