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Track Listings
| 1. Queen Of Quiet |
| 2. Blackbirds |
| 3. Didn't They |
| 4. La Petite Mort |
| 5. Little Cowboy |
| 6. Daisy And Prudence |
| 7. Fast As I Can |
| 8. You Musn't Kick It Around |
| 9. How To Open My Heart In 4 Easy Steps |
| 10. Dirt Gardener |
| 11. Love In 2 Parts |
Product Description
Amazon.co.uk Review
Erin McKeown's quirky, folksy music on Distillation weds the intimacy of the coffee-house circuit with the braininess of her daytime gig as an ethnomusicology student at Brown University. Accompanying herself on guitar, piano, banjo and the odd sampler, this precocious Virginia native has crafted a winning album of original songs that range from the coy minimalism of "Queen of Quiet" to the genuine beauty of "How to Open My Heart in 4 Easy Steps". McKeown infuses her songs with a droll wit and a keen awareness of jazz, blues, and Tin Pan Alley traditions (how many 23-year-olds cover Rodgers and Hart's "You Mustn't Kick It Around"?). With its echoes of Gillian Welch, KD Lang, Suzanne Vega and the Handsome Family, Distillation is an eclectic collection of mostly upbeat tunes that play nicely while the barn is burning. --Bill Forman
CD Description
Virginia-born and New England-based, Erin McKeown's musicalroots seem to lie somewhere in the deep South. Throughout her aptly named debut, DISTILLATION, you can hear echoes of Robert Johnson, G. Love, the Faulknerian landscape of the first couple albums by the Band, and most obviously, the rural mythos best explored, from entirely different angles, by those Louisiana-born Williams non-sisters, Victoria and Lucinda.
While nowhere near as helium-pitched, McKeown shares Victoria's fondness for odd, jazz-inflected phrasing, especially on the swooping vocal melody of the Tin Pan Alleyish "Didn't They?", on which McKeown soars and dives like a drunken seagull, or the Billie Holidayesque trills in "The Little Cowboy". What McKeown has in common with Lucinda Williams is her wry but essentially romantic, tradition-rooted but not bound lyrical stance. The countryish "La Petite Mort", with its sly sex-and-religion twining, would not have sounded out of place on CAR WHEELS ON A GRAVEL ROAD.
While nowhere near as helium-pitched, McKeown shares Victoria's fondness for odd, jazz-inflected phrasing, especially on the swooping vocal melody of the Tin Pan Alleyish "Didn't They?", on which McKeown soars and dives like a drunken seagull, or the Billie Holidayesque trills in "The Little Cowboy". What McKeown has in common with Lucinda Williams is her wry but essentially romantic, tradition-rooted but not bound lyrical stance. The countryish "La Petite Mort", with its sly sex-and-religion twining, would not have sounded out of place on CAR WHEELS ON A GRAVEL ROAD.
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