Daily Texan interview

An interview by Jay DeFoore that appeared in the Daily Texan, the University of Texas student paper…

Permanent Frost: Lo-Fi country charmer, sans blue mohawk, comes home

Singer/songwriter Edith Frost has come a long way since the early ’80s when she wore a blue mohawk and worked behind the counter of Austin’s favorite headshop, Oat Willie’s.

Just looking at her, one would never guess the girl with the thin frame, wispy brown hair and sweet-as-honey voice could rock a punk haircut, much less a punk-’n’-roll club like Emo’s.

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Austin Chronicle preview

An interview / show preview by Kim Mellen that appeared in the January 22-28, 1999 issue of the Austin Chronicle

Edith Frost, Lullaby for the Working Class, Knife in the Water
Emo’s, Saturday 23

Rooted somewhere in the Midwest, there’s a vast family tree growing from the mulch of Nineties indie rock.  Its branches are surnamed experimental, post-rock, shoegazer, and otherwise pruned-down sparse-rock too young to be named, composed of the members of Tortoise, Gastr del Sol, Palace, and a gazillion others.  Recently alit on its gnarled, inbred branches is Chicago songbird Edith Frost, who can’t believe how her former nest of Austin, which she left early this decade, has grown.  Her openness and excitement about this and every topic belies the often turbid waters of her musical gene pool.

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The Map Room (Memphis, TN)

With: Lullaby For The Working Class

My band: Ryan Hembrey (bass, guitar), Jason Adasiewicz (drums, glockenspiel)

Dallas Observer review

A review by Robert Wilonsky that appeared in the January 21-27, 1999 issue of the Dallas Observer

This time around, the instruments come and go in the background until the cello and guitar and organ have become a single, stringent sound — this is the stuff of deep fuzz, roots gone psychedelic like a reverie half-remembered or a wish half-fulfilled. Edith Frost — among the rare women to shake, rattle, and roll around with the noodling indie boys in that Guysville (sic) known as Chicago — has come a long way indeed since her earliest recordings, back when she was content to play cowgirl dress-up and sing campfire songs tucked away safe and quiet in her bedroom.

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FW Weekly review

A review that appeared in FW Weekly (Fort Worth, TX)…

NYC’s Edith Frost’s story has "indie-legend-in-the-making" written all over it. In 1994 she sends a demo tape to Chicago label, Drag City. A year later, it is discovered at the bottom of the "for review" bin and is immediately released as an EP. In 1996 she hits the studio with a cred-heavy band that includes Gastr Del Sol’s David Grubbs and High Llama Sean O’Hagan and produces the much-lauded, country-tinged Calling Over Time. Her new album, Telescopic, finds Frost leaving her past behind for more distorted and experimental territory. She plays Denton’s Rubber Gloves Rehearsal Studio on Sunday.

Weekly Alibi review

A review by Michael Henningsen that appeared in the January 21-27, 1999 issue of the Weekly Alibi (Albuquerque, NM)…

After Beck made it OK both for geeks to rock and for them to do so using acoustic guitars, the world has seen the rise of countless "acoustic-indie" artists.  Some of them are pretty good, others are simply strategists.  Chicago’s Edith Frost is neither.  Since the 1998 release of Calling Over Time (Drag City), [and] a four-song EP culled from her vast self-recorded demo cassette collection, Frost has been the talk of the indie scene — think Mary Lou Lord or Beth Orton minus the hype.  And it’s not just because she’s clever with an acoustic guitar and has the ability to wring out a good lyric or two.  The 31-year-old Frost sounds as inspired as Patsy Cline at the Grand Ole Opry, and her odd-metered acoustic guitar-based songs are thick with the twangy stuff of dead country legends.  But she’s not simply the country-folk singer much of the press she’s received might have you believe.

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The Met interview

An interview by Holly Jefferson that appeared in the January 20-27, 1999 issue of The Met (Dallas, TX)…

No Love Lost: Misfortune doesn’t hinder Edith Frost

Lately, wherever Edith Frost needs to be, she’s had to contend with inconvenient situations.  In the days prior to this interview, the native Texan and Chicago transplant has been bypassed by overstuffed trains, missed plane flights, caught the flu, and slept in the airport.  It’s the "can’t win for losing" fate that makes potential fodder for a country song.

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UC Santa Barbara review

A review by Josh Miller that appeared in the UC Santa Barbara Daily Nexus

What we have here is a beautiful album that I’ve enjoyed more with each listen.  At a time when there are more than several bands working with a sound that’s a little bit country and a little bit indie rock, Frost is definitely one of the best songwriters in the bunch.

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Tribune review by Greg Kot

A review by Greg Kot of my second album TELESCOPIC that appeared in the Chicago Tribune



Fleshing out her delicate folk-pop with hints of electronic atmosphere, Frost is Chicago’s answer to Beth Orton and Lida Husik.  She sings carefully chosen words about broken relationships in a dreamy voice, leaving clean incisions that may require stitches weeks after they’re first heard.

Texas Monthly review

A review by Jeff McCord that appeared in the January 1999 issue of Texas Monthly

Hazy, narcotic-hued soundscapes abound on Telescopic, Edith Frost’s second album, which broadens the former Texan’s frugal acoustic approach with a medley of humming and buzzing electric instruments.  Though the album’s lethargic pace initially lulls the listener, Frost’s dreamlike musings of human frailties are melodic, distinctive, and wholly addictive.

Magnet review

A review by Colin Berry that appeared in the January 1999 issue of Magnet

Critics lined up to praise Calling Over Time, singer/songwriter Edith Frost’s star-studded 1997 debut.  Thus were hopes high for the follow-up from this "country-Midwestern" queen.  And Frost doesn’t disappoint.  With co-conspirators Ryan Hembrey (Pinetop Seven), Amy Domingues (Tsunami), Rian Murphy (Royal Trux) and others, Telescopic is as good a slice as you’ll savor this year.  Frost’s low, confident voice lies somewhere between Bliss Blood’s and Liz Phair’s, and on Calling Over Time, her guitar and vocals often tumble into minor keys and themes.  With Telescopic, though, the melancholy oeuvre is balanced with poetic metaphor and savvy philosophy, resulting in an immensely personal journey by an artist who feels and understands much around her.  On "Falling," Frost invites her lover to plunge with her, explaining, "The pleasure is worth the fear."  The title track examines the inequality between what we receive from the heavens (starlight, dreams, inspiration) and the white noise we pump into them.  Sonically, Frost melts strings and occasional electronica into her folk; her band sounds live and organic.  The result — innovative music paired with meaningful lyrics and strong songwriting style — is celestial.

CMJ interview

An interview by David Daley that appeared in the January / February 1999 issue of CMJ New Music Monthly

Country-styled chanteuse EDITH FROST heats up on her new Telescopic.

If Patsy Cline had lived longer, it wouldn’t be difficult to imagine her today, trading nights of sumptuous standards with Bobby Short at New York’s elegant Carlyle Hotel.  As recently released live recordings of Cline have revealed, despite her hard life and hard living, she was less a hardcore honkytonk gal than a wondrous pop stylist.

Chicago chanteuse Edith Frost gets colored with the country brush as well, and the sad songs and influx of steel guitar on her gorgeous new album Telescopic (Drag City) probably won’t help dispel such typecasting.

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The Hideout (Chicago, IL)

Played country cover tunes solo at the Hideout, at one of Kelly Kessler’s Honkytonk Backroom showcases featuring the Texas Rubies, Kelly Kessler, and Heather McAdams showing old Bob Wills soundies.

Chicago Reader on Telescopic

A review by Peter Margasak that appeared in the Chicago Reader

On her second album, produced by Neil Hagerty and Jennifer Herrema of Royal Trux, Edith Frost has replaced the acoustic gentility of her previous recordings with electric gentility, her rootsy melancholia with fuzzed-out psychedelia. But her beautifully understated serpentine melodies remain a constant, and the backup — Rian Murphy, Ryan Hembrey, Amy Domingues, Jean Cook, and Jason Quick, on drums, bass, guitar, and a lot of violin — still caresses her siren’s croon rather than shaping it. Although it would be nice to hear her try a tempo other than mid, Frost obviously has that rare desire to transform herself from within and the even rarer ability to pull it off.

WHPK (Chicago, IL)

Played solo on the Pure Hype radio show on WHPK (University of Chicago)

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