10 Songs, 37 Minutes

EDITORS’ NOTES

Texas-bred Jolie Holland still holds a confident grasp on the nuances of Americana-bred music, but her own singing and writing is far too varied and advanced to fall into a specific genre. She sings from a haunted place. Her vocals, raspy and intense, add shadows to songs such as “Tender Mirror” and “Wreckage.” Her band, the Grand Chandeliers, play a close-knit noir-blues that threatens to topple over on “Gold and Yellow.” Her foreboding fiddle fuels the passion of “June.” “The Devil’s Sake” is a high lonesome tune where Holland sounds like a stranger in her own body. Said to be inspired in part by Neil Young’s Zuma, Pint of Blood has sparse arrangements that suggest a storm is brewing. However, Holland can’t resist adding color — even if they are shades of grey. Closing the album with Texas songwriter Townes Van Zandt’s “Rex’s Blues” is the perfect cap to an album of such evocative desolation.

EDITORS’ NOTES

Texas-bred Jolie Holland still holds a confident grasp on the nuances of Americana-bred music, but her own singing and writing is far too varied and advanced to fall into a specific genre. She sings from a haunted place. Her vocals, raspy and intense, add shadows to songs such as “Tender Mirror” and “Wreckage.” Her band, the Grand Chandeliers, play a close-knit noir-blues that threatens to topple over on “Gold and Yellow.” Her foreboding fiddle fuels the passion of “June.” “The Devil’s Sake” is a high lonesome tune where Holland sounds like a stranger in her own body. Said to be inspired in part by Neil Young’s Zuma, Pint of Blood has sparse arrangements that suggest a storm is brewing. However, Holland can’t resist adding color — even if they are shades of grey. Closing the album with Texas songwriter Townes Van Zandt’s “Rex’s Blues” is the perfect cap to an album of such evocative desolation.

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