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being a fan of singer-songwriters like i am, i jumped to the opportunity of listening to Joanna's album as soon as I could, because I was getting a bit tired of the dry, heavy sound of geniouses like Shannon Wright and fellow harp player zeena parkins. The first time I heard the album I realized the beautiful arrangementes for harp, so different from the 'play-a-long' sound that harps usually have in orquestras or bands, but I didn't quite cope with her voice. But I was persistent and by the 3rd time listening the album I got completely freaked by her childish but at the same time very grown, mature and bone wrecking sprout of a voice. It's different, but so is Bjork and diamanda Galás. Now i'm in a chrisis: I got so glued to the album that I go ballistic when I don't have it near. The harp of course is the main star in this album and Joanna plays it in any possible way (not like zeena, with her electrical shockwaves), but she also plays the piano, harpsichord ( 'peach, plum, pear' is just a completely out-of-the-world experience.. i get goosebumps allover when she sings the na na na na na na na part eheh) and electric piano, and there is a slight electric guitar contribution in 'this side of the blue'. The album begins with Bridges and Balloons and the single Sprout and the Bean, two beautiful, sour (' and as I said, I slept as though dead dreaming seemless dreams of lead') songs that kick the album into the 'get chivers down your spine' mode. 'The book of right on' is the next song, a bit ironic, acid-spoken ( 'and even when you run through my mind, somethin else is in front, you're behind') and the sound from the harp is just magnificent.. she makes it sound like a bass, and the melody is great, which also happens with the beautiful and haunting 'sadie' 'Inflammatory writ' finds Joanna Newsom playing on the piano in a childish-like song, beautiful lyrics about her 'inflammatory writ' or lack of it (' well, I wrote it and I was not inflamed one bit.'). The next two songs return to the previous 'cry-overload' mode. This side of the blue is soft, honey-like with the help of the guitar but it's 'En Gallop' that wins, in my opinion, the 'best track' title. The instrumental begginnning, that grows into a beautiful introduction, her voice howling the dark lyrics (' never get so attached to a poem you forget truth that lacks lyricism') is just beautiful, amazing song-writing. The following song 'Cassiopeia' is also an amazing fragile song but 'peach, plum, pear' played on the harpsichord lifts you up, even gets you to dance with its upbeat sound (but heavy lyrics), which always reminds me of Tori Amos on her best period, Boys for Pele. 'Swansea' is another perfect conjugation of beautiful melody, beautiful lyrics (' how I would love to gnaw, gnaw on your bones so white...') and amazingly warm voice. 'Three Little babes' is funny where the other songs were heavy but the last song 'Clam, crab, cockle, cowrie' sets the goodbye tone on the album that makes you wish for more. It's a love song, a hate song, a sad sad sad tale( 'I am cold, out waiting for the day to come'), but her voice makes me happy, lifts me up, makes me cry.. all these emotions that make me adore this album. Along with the oldies 'heaven or las vegas' of Cocteau Twins, 'Boys for Pele' from Tori Amos and the recent 'You are Free' from Cat Power, Joanna Newsom's 'the Milk-Eyed mender' is one of the most beautiful, addictive albuns to ever see daylight. Thank you Joanna for being a weird little beautiful mermaid:)
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