| | Milksop Holly Time To Come In CD Milksop Holly Discography of CDs
Picking up where the dreamy, hypnotic folk-pop of Milkweeds left off, Milksop Holly's Time to Come In features more of Mara Flynn's sweet, slightly twangy voice and plaintive acoustic guitars and adds strings, synths, and stronger songwriting. The result is a subtly powerful collection of songs like "Rust," in which Flynn sings sweetly malevolent lyrics like "Love is a slow fire that eats at your heart like rust... my face is full of poison" over a backdrop of acoustic guitars and rich cellos. The album ranges from earthy, countrified numbers like "When I Get Home" to spacious, psychedelic epics like "Seasick" and "Cowardice." The title track blends both styles into a pleasantly droning tune reminiscent of Edith Frost's "Calling Over Time," and "Leave the Guitar"'s martial drumming and loopy guitars recall Kristin Hersh's elliptical song structures. Time to Come In's most surprising track is a lovely reworking of "Moon River"; the tremolo in Flynn's voice makes it sound as though she's singing underwater, an effect that is heightened by the droning strings and guitars that surround her. A quietly lovely album, Time to Come In delivers on Milksop Holly's abundant potential. ~ Heather Phares
Milksop Holly: Mara Flynn (vocals, acoustic guitar, accordion); Kramer (guitar, bass, background vocals); Ron Lawrence (violin); Tom Rutishauser (cello).
2nd Rel
The Wire (3/00, p.58) - "...Singer-songwriter Mara Flynn's voice is undoubtedly engaging and Kramer's production and arrangements are quietly forceful..." Milksop Holly Time To Come In Songs | 1. | Rust |
| 2. | Leave The Guitar |
| 3. | Cowardice |
| 4. | Time To Come In |
| 5. | Sea Sick |
| 6. | Ghosts Don't Have Names |
| 7. | When I Get Home |
| 8. | Moon River |
| 9. | Ocean Grave |
| 10. | Homemade '99 |
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Time To Come In Review
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With Wires, Australia's Art of Fighting produced a startlingly brilliant debut full-length, after the release of two highly acclaimed EPs on Half a Cow Records. The tender and atmospheric feel of the opening track, "Skeletons," and the heart-achingly breathtaking "Give Me Tonight," makes first-time listeners of Wires instantly taken aback, as Ollie Browne's delicate vocals deliver a resounding emotional tone. The powerful start to the disc quickly makes it clear why the album was named the Best Alternative Release of 2001 at the Australian Record Industry Awards soon after its release. Miles Browne, Peggy Frew, and Marty Brown round out the quartet, adding subtle guitar strumming and textured rhythm throughout. "Akula" is another dreamy art rock piece, with its minimal use of brushed drums, and "Moonlight" is one of the prettiest slowcore ballads this side of "Low." Frew appears on lead vocals on the fifth track, the evocative "I Don't Keep a Record," and "In No Good Way" easily offers up some of the fastest chord changes on an album defined by its wealth of mostly subdued songs. The seventh track, "Find You Lost" includes guest vocals by Marcus Barczak, and the organ and guitar on "Reasons are All I Have Left" combine for yet another surprisingly stunning track which, by this point, should no longer be surprising.
Often compared to Coldplay and Radiohead, Art of Fighting clearly stand on their own, embracing music as a religious-like experience, forgoing conventions for hushed vocals and restrained instrumental artistry. It's also important to note that, despite the sameness of tempo throughout, each song has its own formula, which, although predictable, delivers consistently powerful musical drama throughout the 11-song disc. "Just Say I'm Right" might well be the climax of an album full of many more peaks than valleys, as the band blasts out of its slowcore tendencies and embraces a bit of feedback and an increase of volume. The ...
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