Archive for the tag "ancestors"

there are moments when edith’s voice sounds like liz phair’s and this is one of them (the first b side); it’s almost as if the good lord sent down a liz phair replacement who could continue along making songs unfettered by that laughable production ms. phair is into now. edith has her own style, which is lonely cowgirl; she is from texas so she isn’t faking it. when will she tour with freakwater and virginia dare?

Edith Frost: Authentic, heartsick, personal & poignant

From a cool and steel gray channel encompassing the horizon, a glimmer of hope emerges. Beauty and optimism slowly wrap around your being as you witness flower petals effortlessly dancing upon the water’s surface with candles calmly floating on leaves set adrift under the dwindling light. Edith Frost is the voice from which the glimmer, the beauty and the optimism spring forth in introspective gentleness.

Edith Frost has a mesmerising, ghostly presence. Her voice is fragile and sickly — it feels at first a bit like a cold hand on your shoulder. It’s funny that she should be singing about ancestors, because she has a voice from the past, a gentle, curious oddity from another time and culture. Sometimes she sounds like the memory of a century old Sioux spreading terrible wisdoms. Sometimes she sounds like the madwoman in the attic. Actually, she’s probably a wee woman from Partick who runs a laundrette, but then music is alchemy, isn’t it?

Edith Frost wins again with three more great songs, produced this time around by Kramer.  While Kramer adds some bass and synthesizers, most of these songs are reminiscent of Frost’s self titled EP, simply Frost with her guitar.

"Ancestors" is a dream-like pondering of reuniting with loved ones in heaven.  "Secrets" is a country ballad type song which is perfect for desert sunsets.  "Cold and On My Mind" opens with the line, "We’ll never know much about anything." This toe tappin’ ditty conjures many of the same images as "Secrets", only a bit more playful, leaving behind the words of the chorus, "We’ll never know where the summer goes."

These three new songs are available only as an import single, but they are certainly worth the extra cash you might have to pay for it.

I’m absolutely in love with this single — the singer, too, and not just the songs. Edith Frost put out an album I regrettably didn’t hear on Drag City last year, but this single points to labelmates Palace’s new country rock — but Edith Frost is somehow much more than this. "Ancestors" is beautiful in the way that a dream that is completely scary, chilling, and forlorn can still reveal heavenly scenery. "Secrets" loosens things up, pulls you back from the abyss, with a gorgeous tune with a guitar sound like the clomp of a horse and the ghost of Patsy Cline. The fact that country music’s best singer is not getting nearly the respect she deserves and on an indie-rock label is perhaps as condemning a statement as can be made about the state of modern county and western music.

Chicago chanteuse Edith Frost quickly follows up her exceptional full-length debut, Calling Over Time, with three more songs of equal quality. Like those on Frost’s debut EP, these new songs are more sparse than those of Calling Over Time, which features a cast of backing musicians. The only other musician heard on these three songs is Kramer (who produced them), who adds a touch of bass and synthesizer to the eerie, hollow sounds of "Ancestors."  "Secrets" and "Cold And On My Mind" are the sort of back porch ditties we’ve come to expect from Frost: simple acoustic guitar-based songs with a touch of blues and a twist of country.