Archive for the tag "errata"
Despite her gritty alto, the Chicago-based Edith Frost seems convinced that God intended her to use her vocals as a pretty pop instrument. This peculiar voice, which she subdues until the most poignant moments, brings a sense of understatement to the waves of catchy melodies put forth by her back-ups. Frost’s compositions tend toward introspection and poetry, especially those from her 2001 release, Wonder Woman, an album basking in the beauty of simple chord changes and stark, confessional prose. Edith Frost’s live show is a retrospective of this newest, most mature work, as well as bluegrass covers and psychedelic soundscapes from earlier releases like 1998’s Telescopic (which included the college radio hit, “You Belong to No One”). 400 Cedar Ave., Minneapolis; 612-332-2903; www.400bar.com
(…The album is called Wonder Wonder dudes! Ha ha.)
A show preview by John Payne which appeared in the April 19-25, 2002 issue of L.A. Weekly. It’s previewing the show at Spaceland on Sunday the 21st.
Edith Frost gives new hope for those seeking that kind of introspective, country-tinged singer-songwriter stuff but who’re bored to tears with the way it sounds. Over the course of a few generally excellent Drag City albums, Frost has taken the form and given it goose, working with your all-stars of the post-rock scene including Royal Trux, Gastr del Sol, Eleventh Dream Day and High Llamas, and with producer* Steve Albini on the recent WONDER WONDER. A singer of subtly ironic affect, Frost skews her downbeatish songs with unusual chord progressions and idiosyncratic instrumental touches like subdued keyboard shards or her favored jaunty clarinets, which lends an inviting ambiguity to the jaded tone she uses to convey her rather personal heartbreak stories.
* Actually, Rian Murphy produced the album; Steve Albini engineered it.
A show preview (author unknown) that appeared in Madison, WI in the April 11-17, 2002 issue of The Onion…
April 12: Edith Frost w/ Central Falls
Café Montmartre, 9 p.m., $8
Much like Canadian singer Julie Doiron, Edith Frost coaxes beauty from sadness and longing. Although Frost’s music is often pegged as alt-country, her songs rarely muster up enough energy or twang to warrant the tag. She played with bar bands in her native Texas for years,* but didn’t find her true voice until she discovered Chicago’s underground-rock scene. Last year’s Wonder Wonder benefits greatly from those around her: Archer Prewitt and members of Wilco and Eleventh Dream Day help lay the foundation for Frost’s lovely, world-weary songs. Adam Vida, leader of opening act Central Falls, moonlights as the drummer for the insanely spastic No Wave band U.S. Maple. But Central Falls is everything Vida’s other gig isn’t: languid, pretty, tuneful, dreamy, and so on. Its new album is Latitude.
*Actually I didn’t start playing in "bar bands" (?!?) until around 1993, after I left Texas and moved to Brooklyn.
A show preview by Liz Brown which appeared in the April 10, 2002 issue of Willamette Week (Portland, OR).
Edith Frost, Central Falls, Sarah Dougher
The credits on Edith Frost’s albums read like a Who’s Who of indie rock: contributors include the Sea & Cake’s Archer Prewitt, Gastr del Sol’s Jim O’Rourke and Rick Rizzo of Eleventh Dream Day, among others. Steve Albini even produced* her latest CD, Wonder Wonder. Yet despite such enviable affiliations and a spot on the roster of hip Chicago label Drag City, Frost’s music lacks any cooler-than-thou pretense. She calls on her Texas roots to lend a loping cadence and occasional twang to minor-key melodies, her voice alternating between a subtly country swagger and a ghostly, childlike whisper awash in delicate harmonies. Even if she rolls into town with no renowned labelmates in tow, Frost — armed with an acoustic guitar and a wounded heart — is plenty captivating all by her lonesome.
* Actually, Rian Murphy produced the album; Steve Albini engineered it.
An interview by Sonia Pereira that appeared in the Winter 2001 issue of Charm, a zine out of Northampton, MA. I’m not sure of the exact date the issue came out, but the interview itself happened over the phone on 10/5/01.
Chillin’ With Edith Frost
I’ve had this Edith Frost song in my head all day. It’s called "Cars and Parties" and it goes something like this: "Everyone around here reminds me of someone down in Texas and every strip-mall on the highway reminds me of my home…" In her classically Frost-like nonchalance, Edith’s voice rolls through the tune like she’s rolling smoothly down a hill only to fly off a sharp dip throughout her course (hey, she’s gotta let you know just how uncool or mal-adjusted she really is). Edith Frost is the kind of singer you can relax in the tub to while sipping hot cider and rum, eating Godiva’s, closing your eyes, and remembering how sucky and wonderful love can be while fighting back the tingling tears in your gut. Her voice is deep and gentle like a little kid’s sincerest belly laugh. Her lyrics are deceptively simple, endearing, and extremely catchy.
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.
From the September 14th, 2001 issue of the Wilmington Morning Star (Wilmington, NC). The actual interview took place over the phone a few weeks earlier.
Rockabilly1 artist Edith Frost sings from the past
By John Staton, Morning Star Correspondent
For Chicago-based singer/songwriter Edith Frost, they just don’t write ’em like they used to.
"I collect really old-timey stuff," Ms. Frost says, speaking from her home in Chicago during a phone interview. "My mom actually has a cylinder player and a Victrola, and so when I was growing up I was hearing really, really antique music. So it’s in me. I think the earliest songs that were recorded are some of the best tunes that you can find."
A review by "BS" that appeared in The Event Newsweekly (Salt Lake City, UT)…
Call Edith Frost the crossover cowgirl, the alterna-country singer who discovered the fuzz pedal. On Telescopic, her newest Drag City release, she treads the familiar lyrical ground of lost love (so confessional an artist that she has posted diary entries on her web site) but with unexpectedly psychedelic sonic textures, with not just guitar but violin, accordion and singing saw.* Her roots are as much in Royal Trux as in Hank and Patsy. The reflectiveness isn’t diluted, however, by the added dimension. Her music is so personal that this new genre she’s almost single-handedly invented doesn’t sound alien at all.
* Correction from EF: There is no singing saw on Telescopic.
An interview by Josh Noel that appeared in the Chicago Tribune "Reverb" section…
A multicolored Frost
Drag City songstress plays Empty Bottle and Goose Fest
Whether you interviewed Edith Frost for a half-hour, two hours or even 10 hours, you’d come away with few notes. Most people don’t take notes when talking to their friends, and Frost is so easygoing and candid and so immediately familiar that scribing most of what she says would seem a violation of friendship. Then you remember there is no friendship — you’re working here — so you’d best start writing something.
An interview by Anastasia Pantsios that appeared in the October 1-7, 1997 issue of the Cleveland Free Times (Cleveland, OH)…
An Early Frost
Edith Frost approaches roots music in a conscious, educated way. Though such an approach can sometimes lead to stagy, patronizing disasters, Frost resembles fellow country/folk troubadour Gillian Welch in coming at her late-found love with an affection so open and humble that it precludes condescension. And even though Frost’s self-released EP of last year1 and her full-length album Calling Over Time were released on Chicago’s ultra-hip indie label Drag City, she seems embarrassed by the notion of being part of some "hip" scene. She’s just a 33-year old working gal in Chicago, thrilled to get her first $3000 royalty check from Drag City and trying to figure out how to buy a vehicle so she can go on the road more. "Last May was the first time I played in a town I didn’t live in," she explains.