My album’s finally out! YAAAAYYYYYY!!! Things are so cool right now, I’ve been playing all these gigs, doing interviews… there was a really nice writeup of my album by Chris Morris in the May 3rd issue of Billboard Magazine. That was kinda surreal… it’s just bizarre and neat-o that people are interested in what I’m doing. Well, *some* people are interested… well, a few people are mildly curious I hope… (hee hee)
With: Stanley; Silkworm
My band: Michael Krassner (guitar); Joe Ferguson (bass); Glenn Kotche (drums)
An interview by Chris Morris that appeared in Billboard in the column Declaration of Independents…
Singer/songwriter Edith Frost is a giddily disarming new arrival in Chicago whose debut album on Drag City, Calling Over Time, is a notable entry from the city’s fertile musical scene.
A review of CALLING OVER TIME by Michel Polizzi which appeared in Carbon 14 magazine. I have NO idea of the issue number or date, so I’m fudging on that… if anybody knows, please tell me.
Intensely depressing songs of lost love and yearning for dead lovers, oozing with sadness, melancholy and despair. Minimal, dirge-like, mostly acoustic accompaniment (guitar, piano, organ) evoke a really depressed Mazzy Star, if that’s possible. Unlike blues, which can cheer up a broken heart, this will push you to contemplate suicide if you’re THAT low! Not my cup of tea these days! (1, raised to 2 so as not to bum Ms. Frost out too much further!)
A review by Lydia Anderson that appeared in the May 1997 issue of CMJ New Music Report…
"I sing the blues ‘most every night," sings Edith Frost on her album’s opening cut, "Temporary Loan," and the subdued blue tone of this song glows throughout her debut, which offers a very personal, very solitary version of the blues. Echoing the four melancholy tunes on her EP of last year, these new songs tip-toe in different directions, touching upon folk, blues, country and artier strains, but are always anchored by Frost’s breathy, but confident, voice. While she recalls other plaintive-voiced singers, Frost achieves her own distinctive voice: She has a higher, sweeter sound than Kendra Smith, and an earthier, less ephemeral tone than Mazzy Star’s Hope Sandoval.
A review of Calling Over Time by Michael Perlmutter that appeared on Tufts Daily Online sometime in April ’97 (I’m not sure of the exact date).
Edith Frost a disappointing addition to Drag City
‘Calling Over Time’ settles for mediocrity
From its inception, Drag City Records has been on the forefront of the music industry. Where others were too shy or hesitant, Drag City charged ahead, braving new and uncharted waters, discovering sonic exotica every time. Looking back at the seminal first records by Pavement, the adoption of avant-garde superstars Gastr del Sol, the careful cultivation of the latent talents of Bill "Smog" Callahan, the rescuing of Mayo Thompson and the Red Krayola from 1960s obscurity (into 1990s obscurity), and Palace, it seems that the folks at Drag City knew something that no one else did.
But with the release of Edith Frost’s Calling Over Time, it seems that whatever remarkable intuition and foresight the masterminds behind Drag City once had is faltering — or they’re now settling for mediocrity, which is what mostly stands out from this album.
A review of Calling Over Time by Ilana Kronick that appeared in VICE (Canada) in 1997… not sure of the exact date.
This woman later wrote a semi positive review of my second album which appeared in Hour Magazine (Toronto). It made no mention of her having hated Calling Over Time… she called it "an under-appraised gem"!! Whatever.