Every day, Dave Segal sifts through the hundreds of tracks that bombard his inbox. On a biweekly basis, he tells you about the two artists whose music most impressed him. This time, Seattle transplant and singer-songwriter Evelyn Frances delivers harrowing art-pop songs about 21st-century NYC life and drummer-producer Kassa Overall jazzes up some '90s hip-hop classics, including Digable Planets' "Rebirth of Slick."
Evelyn Frances, “Hold Yourself Together” (self-released)Â
Seattle-via-NYC singer-songwriter Evelyn Frances made a powerful first impression on me when she opened for experimental-electronic duo Matmos last year at Here-After. Singing like a woman pushed to extremes to retain a semblance of calm while under severe urban pressure, she used electric guitar, flute, and effects pedals in songs that portrayed New York City as a chronic threat to sanity. (Perhaps that's why she moved to the paradise of tranquility known as Seattle. *cough*) In a review of that show on Slog, I wrote that "[Frances's] compositions felt as raw and unsettling as a Cassavetes film." Her new album, Human Patience, reaffirms that observation.
Frances is an artful minimalist who's ostensibly working in the folk-tinged art-pop vein. Electronics and beats sometimes burst into the frame, adding surprising jolts of adrenaline. At other points, as in the morose lament "I Wonder What the Neighbors Think of Us," she conjures a chamber-orchestral gravitas. (It should be noted that Frances also plays in the Pixies-like rock band Prim.) Operating alone, she opts for a sparser, more introspective tack. On the opening miniature, "High Hill," Frances's voice is close-mic'd for optimal intimacy over an eerie, distressed drone. She sings, "I want to feel vast looking out on the lake/on a high hill," signaling a desired escape from the Big Apple.
"Yell a Little Louder" begins nearly a cappella, but then shifts abruptly into a jagged, ominous dubstep ripper, with internal-organ-shaking bass. Here, Frances proves that she's not your typical trad singer-songwriter. Key lines: "I can't listen to anyone that doesn't agree with me/I wanna yell a little louder into my own respective void/...you can't tell me that you suffer more than me." On "Tired," the album's most radio-friendly tune, Frances's voice becomes wraith-like amid a low-frequency electronic onslaught with booming beats. The track ends with static and Frances's voice glitching out, as if she's rebelling against accessibility. Speaking of which, the frosty, alienated ballad "Paint You" uses subtle electronic distortions within a dream-folk framework to approximate a lo-fi take on 10cc's 1975 hit, "I'm Not in Love."Â
Continue reading »