Simone, Alina / Make Your Own Danger
| Album: | Make Your Own Danger | Collection: | General | |
| Artist: | Simone, Alina | Added: | Oct 2011 | |
| Label: | Pentar | |||
A-File Activity
| Add Date: | 2011-10-30 | Pull Date: | 2012-01-01 |
|---|
| Week Ending: | Dec 18 |
|---|---|
| Airplays: | 1 |
Recent Airplay
| 1. | Mar 30, 2013: | Music Casserole
My Love Is A Mountain |
2. | Dec 16, 2011: | UpDownUnderStairs
Beautiful Machine |
Album Review
Trent Kay
Reviewed 2011-10-18
Reviewed 2011-10-18
Plugged-in dyke folk. I mean, she's not a dyke, but she sounds a hell of a lot like the dykes who make dyke folk, and at a certain point the genre surpasses orientation, no? Here's a hard, rich, nails-in voice, moody and edgy guitar lines, a sound that's gutsy and severe. Alt rock as the mid-90s would have it.
Alina Simone (by the by, she's a Ukrainian expat raised in Boston) cites Sinead and PJ as her influences, but the obvious comparison is Ani. This whole record comes packaged as a coffeehouse zine scene dream: cover art that belongs on a graphic novel, a foreign vibe that's slightly Celtic, slightly gypsy, and behind the mike, a performance poet who just published a book of essays this year.
Sayeth Pitchfork, about the scene (and, hence, the record): "… strong, intense women with smoldering voices set to melodious yet slashing music." Yup yup yup.
RIYL: Ani DiFranco, Tori Amos, PJ Harvey, Regina Spektor, Loreena McKennitt
try: 1, 10, 9, 3, 5
no FCCs
*1. (3:42) hypnotic dark swirl guitar, western feel, hard. this could be neko case.
2. (2:53) eerie high keys and tribal drums, then rich strings. sounds like something the decemberists would pull off.
*3. (4:03) rich dark moody guitar a la toad the wet sprocket (you never get to say that in an album review!) and melancholy virtuoso vox. very moving, beautiful, sad.
4. (3:59) easy kit and clean electric. lots of air. lots of loreena mckennitt going on here. and a 'fascination street' namecheck?!
*5. (5:06) very spare and slow. kitchen sink percussion, plucked banjo and mega powerful vox. builds and builds, but never breaks.
6. (4:05) cooks. fast, rushy jagged deep strings, accent sax. muffled harsh vox. the bass line (played by, i think, a cello) sounds quite like "the archer & the light".
7. (2:34) slow low arpeggiated guitar and choir-like vox. a bit churchy.
8. (2:14) rapid minor strums on what sounds like a 12-string. tambourine, shakers.
*9. (4:04) soft sweet fingerpicked etudey electric, then fierce drums and a jagged fuzzy guitar. and, uh, wailing trumpet. hey, okay.
*10. (4:15) deep drums, melodic electric. moody, gloomy, dark. i mean, check out the track title.
11. (5:12) slowww. sparse sitar-style intro over ambient noise and flute. quavering lone vox: "hush now baby don't you cry", etc. nevermind that she stole this title from soft black.
Alina Simone (by the by, she's a Ukrainian expat raised in Boston) cites Sinead and PJ as her influences, but the obvious comparison is Ani. This whole record comes packaged as a coffeehouse zine scene dream: cover art that belongs on a graphic novel, a foreign vibe that's slightly Celtic, slightly gypsy, and behind the mike, a performance poet who just published a book of essays this year.
Sayeth Pitchfork, about the scene (and, hence, the record): "… strong, intense women with smoldering voices set to melodious yet slashing music." Yup yup yup.
RIYL: Ani DiFranco, Tori Amos, PJ Harvey, Regina Spektor, Loreena McKennitt
try: 1, 10, 9, 3, 5
no FCCs
*1. (3:42) hypnotic dark swirl guitar, western feel, hard. this could be neko case.
2. (2:53) eerie high keys and tribal drums, then rich strings. sounds like something the decemberists would pull off.
*3. (4:03) rich dark moody guitar a la toad the wet sprocket (you never get to say that in an album review!) and melancholy virtuoso vox. very moving, beautiful, sad.
4. (3:59) easy kit and clean electric. lots of air. lots of loreena mckennitt going on here. and a 'fascination street' namecheck?!
*5. (5:06) very spare and slow. kitchen sink percussion, plucked banjo and mega powerful vox. builds and builds, but never breaks.
6. (4:05) cooks. fast, rushy jagged deep strings, accent sax. muffled harsh vox. the bass line (played by, i think, a cello) sounds quite like "the archer & the light".
7. (2:34) slow low arpeggiated guitar and choir-like vox. a bit churchy.
8. (2:14) rapid minor strums on what sounds like a 12-string. tambourine, shakers.
*9. (4:04) soft sweet fingerpicked etudey electric, then fierce drums and a jagged fuzzy guitar. and, uh, wailing trumpet. hey, okay.
*10. (4:15) deep drums, melodic electric. moody, gloomy, dark. i mean, check out the track title.
11. (5:12) slowww. sparse sitar-style intro over ambient noise and flute. quavering lone vox: "hush now baby don't you cry", etc. nevermind that she stole this title from soft black.
Track Listing