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+ Donato Wharton - Body Isolations
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+ Chris Thile - How To Grow A Woman From The Ground
+ Brad Mehldau - Live in Japan
+ M Ward - Post-War
+ Various Artists - Touch 25
+ The Mountain Goats - Get Lonely
+ The White Birch - Come Up For Air
+ Camera Obscura - Let's Get Out of This Country
+ Coachwhips - Double Death
+ Various Artists - Tibetan And Bhutanese Instrumental And Folk Music, Volume 2
+ Giuseppe Ielasi - Giuseppe Ielasi
+ Cex - Actual Fucking
+ Sufjan Stevens - The Avalanche
+ Leafcutter John - The Forest And The Sea
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+ Function - The Secret Miracle Fountain
+ Sonic Youth - Rather Ripped
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+ Glissandro 70 - Glissandro 70
+ Calexico - Garden Ruin (Review #2)
+ Calexico - Garden Ruin (Review #1)
+ The Flaming Lips - At War With The Mystics
+ The Glass Family - Sleep Inside This Wheel
+ Various Artists - Songs For Sixty Five Roses
+ The Fiery Furnaces - Bitter Tea
+ Motorpsycho - Black Hole/Blank Canvas
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Mia Doi Todd
The Ewe And The Eye
City Zen

A reissue of Mia Doi Todd's first album, originally put out by tiny Xmas Records and long unavailable, showcases one of the most extraordinary voices in pop music, against a bare and subtle background of blues-picked guitar. Laid to tape just under a decade ago with Brent Rademaker (who also recorded 2005's Manzanita) and Joshua Schwartz, the album has a wilder, weirder edge than Todd's later work; the discordant wail in "Planting Time," for instance, reminds you more of Jana Hunter or Josephine Foster than Joni Mitchell, and "Digging" has a skewed, Karen Dalton-ish bluesiness. Todd sang then, as she sings now, with almost unimaginable purity and lightness, but there seems to have been an edge in her early days that has been sanded down with time.

Todd's lyrics are imagistic, adding surreal tints to even the most ordinary and personal songs. "Blue Moon," for instance, is set in the most plebeian of situations — a drive-in movie theater — but it transcends the day-to-day with its disturbing images of towering redwoods and howling wolves. "True Love" is a love song, simple enough in concept, but made eccentric with long, luminous vocal tones. Later, analogies — "Like a wrecking ball/ You tore down my walls/ Like a choo-choo train/ You tunneled through my brain" — add off-kilter shadows to what seems like a simple declaration of love.

There are some story songs as well, most notably "Johnny Appleseed," a glancingly lovely set of verses that tell a tale of a man "haunted by a recurring dream/ Of the girl you left hanging from an apple tree." This song is included twice, once in its original skeletal version and later in a remake that has the same instrumentation — just guitar and voice — but somehow seems more resonant and full. There are alternate versions of "Planting" and "Courting" on this reissue as well, both seeming a bit more confident and assured, but not radically changed.

The oddest and most haunting song on this album, though, is "Nightblooming Trilogy," whose middle section tells you everything you need to know about the perils of fragile, feminine and self-destructive art. "The woman who drank poison/ To keep her body frail/ The woman who drank poison/ To keep her skin very pale/ She knew the night so much more intimately than I," Todd sings with her doll-like, perfect voice, against the regular strum of guitar, and you have to wonder what she's gone through to create these sad, lovely songs.

Since The Ewe and the Eye, Mia Doi Todd has certainly advanced her craft, her voice growing stronger, her songwriting becoming more complex and allusive. Yet this early CD offers a fascinating glimpse of her emerging talent, wilder and less constrained than she would become, but already a very distinctive musical presence.

by Jennifer Kelly

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