The first time I heard Joanna Newsom, I was a sophomore in college procrastinating on a paper for a class on the sociology of religion. Apparently Ys had just been released and after reading the 9.4 review on P4k, I opened up SoulSeek and downloaded the record immediately.
I remember listening to a lot of Tapes 'n Tapes, Holy Fuck, and Sufjan around then and wasn't at all prepared for Ys' madrigal poetry -- just look at that album art. But the nuanced record quickly grew on me. While so much of Newsom's brand of folk music can make for a difficult listen (12-minute-long songs, her sharp voice, et al.), I soaked it up like your stereotypical sponge. Listening to "Emily" still takes me back to that cramped single dorm room and living with my stowaway cat.
And so I snatched up the rest of her discography (and scored a t-shirt from a radical friend who saw her live) and wasn't disappointed. The far less epic The Milk-Eyed Mender leaned heavier on traditional folk and Newsom's early self-released EPs adequately showcased her promise. If you're patient and willing, there's a wealth of beauty and substance to be mined from any of her records.
Which brings me to the status quo. After a three year drought, Newsom is finally releasing new material. Come Feburary 23rd, we'll all be treated to the three-disc Have One on Me. So far, her label, Drag City, has streamed but two tracks. "'81" delivers typical Newsom harped storytelling, but "Good Intentions Paving Company" shows the most promise. It finds her in full-on Joni Mitchell-mode, at her most accessible, and backed by banjo and full percussion. If this is the new direction she's heading, count me in.
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Good Intentions Paving Company - Joanna Newsom
'81 - Joanna Newsom
Sprout and the Bean - Joanna Newsom
11 comments:
You should just write blogs about LIsa Hanawalt's art.
Is Lisa's work somehow affiliated with Joanna's (so far, great sounding) new record? Or did you feature her art simply 'cause it's awesome?
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