Producer Adam Pierce the Bubblecore/Mice Parade fame add to his distinctive arrangements to the skeletal song of Meredith Godreau.

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The push notes helpfully point out that Meredith Godreau decided the surname Gregory and also the eagle to \"avoid her being regarded or pigeonholed together a female singer-songwriter.\" never ever mind the truth that she is there is no a doubt female and also without a doubt a singer-songwriter, and a \"female singer-songwriter\" in the share neo-genre feeling at that. Not just will nobody be fooled by the fake band name, now she\"s also saddled with a twee moniker that brings come mind children\"s books and also assorted Wes Anderson-isms.

The surname of Gregory and also the Hawk\"s 2nd album, Moenie and Kitchi, adds photos of kittens into the mix, or maybe Japanese cartoon characters. However no should complicate things with hypotheticals. At love Gregory and the eagle is tho singer-songwriter Meredith Godreau, and the disc supplies things that might be supposed of such a title, such as quiet acoustic guitar and earnestly and also innocently cooed vocals.

Yet Moenie and Kitchi does have an x-factor working in that favor, and that\"s producer and multi-instrumentalist Adam Pierce, of mice Parade fame. Supposedly, many of Godreau\"s vocals and also guitars were recorded in the very same take. If they\"d quit there, the album would certainly be nice dire indeed. Fortunately, Godreau has actually no qualms with adorning her skeletal songs with a small meat. The loose drums and also buzzing strings the \"Oats us Sow\" gives the otherwise off-the-rack monitor a slight tint of unpredictability. A similarly just slightly left-of-center method helps \"Doubtful\" escape a descent into third-rate Kate Bush, specifically when the sub-sonic bass rumbles and also amorphous guitar kicks in. \"Ghost\" also comes near to actually rocking, and also the horns space a quite touch, too.

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Unfortunately, the songs are awfully ephemeral. Godreau\"s crystalline voice is remarkable, and it\"s regularly mixed high, as if there were any means to miss out on it. And there\"s no doubt that she has a method with curiously unresolved melodies. Yet there\"s a limitation to her voice all the same, which never wanders too much from the same variety or timbre. That pipeline a track such as the aptly titled \"Voice choose a Bell\" virtually invisibly pretty. It\"s up to the ethereal idiosyncrasies of the production and also arrangements-- the swollen of approximately noise that ends \"Super Legend\", say, or the percussive electrical guitar the propels \"Harmless\"-- to coax the disc the end of coffee-house purgatory. Yet it never quite advice the balance.