Its companion piece, "A City in the South," however, has the tone of a Carter Family waltz on a hungover Sunday morning. "A City in the North" is reminiscent of the Cowboy Junkies' Trinity Sessions, a relaxed piece of melancholy lament. I realize this may sound obnoxious to some, but after two or three listens I began to look forward to lines that made me cringe the first time through.Īlthough the volume of the album remains constant, O'Neil moves in many different directions stylistically. Sparingly used double-tracked vocals help emphasize themes of lost hope and despair. O'Neil's voice is strong, propelling lyrics about butterflies, the moon, and childbirth over the reverb and ring of electric and acoustic guitars. While the songs are restrained to the point of being timid, a close listen to the album's empty space shows just how aggressive and engaging her songwriting can be. This complex arrangement should be an immediate red alert to the ambitiousness of the album. A brief outline of the many tools she uses includes piano, balla laika, banjo, and thumb piano. But not for reasons you may think.Īccording to the liner notes, this entire album- instrumentation and songwriting- was recorded by Tara in her New York City apartment. With flakes easing past my window, I feel an affinity for O'Neil and her first true solo album, Peregrine. I'm sure some of you recognize this name, and even more recognize such band names as Rodan, Retsin, and the Sonora Pine, bands O'Neil has worked with in the past.
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