Wednesday 30 Jul
 
 

Power Pyramid - The God Drums

Power Pyramid doesn’t have much patience for nonsense. That appears to be the takeaway from the Oklahoma City quintet’s last 10 months, which brought The God Drums in September, the Insomnia EP in January and its latest, self-titled effort in July.

07/29/2014 | Comments 0

TJ Mayes - "When Love Comes Down"

’50s era rock ’n’ roll had been long overdue for a rebirth. Thankfully, the stockpile of capable luminaries has not been in short supply over the past few years. 

07/23/2014 | Comments 0

Boare - "playdatshit"

The world is in the midst of an electronic music renaissance, and you find most of this boon of producers laying claim to the club-friendly, bass-dropping variety, holing up in the the free-flowing world of hip-hop beatmaking or pitching their tent on the out-there, boundary-pushing EDM camp.
07/23/2014 | Comments 0

Broncho - "Class Historian"

Broncho has never been hurting in the hook department. The success of the trio’s 2011 debut, Can’t Get Past the Lips, was predicated mostly on its ability to marry melodies with kinetic guitar riffs and anarchic energy. Yet we’ve heard nothing to the degree of pure pop catchiness on display in “Class Historian,” the new single from Broncho’s upcoming sophomore album, Just Enough Hip to Be Woman.
07/23/2014 | Comments 0

Manmade Objects - Monuments

No one wants to be forgotten; everyone wants some sort of legacy, a mark they leave behind as they exit this life for whatever lies beyond.

And for as long as there has been death, there have been monuments — whether austere or understated, abstract or concrete, prominent or tucked away in private — erected by the ones they loved to assure that remembrance, at least for a time.
07/15/2014 | Comments 0
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Music
 

Psychedelic poet brings swirling, saloon-folk sound to Norman


Danny Marroquin September 18th, 2008

The young East Coast singer/songwriter Pepi Ginsberg coos and yearns in a flexible voice that transcends sultry. What makes her third release, "Red," exciting is that she gets to lose herself before t...

pepi2

The young East Coast singer/songwriter Pepi Ginsberg coos and yearns in a flexible voice that transcends sultry. What makes her third release, "Red," exciting is that she gets to lose herself before the rest of us discover her future records and start making demands. 

Throughout the reckless "Red" are songs that swirl and ease into each other amid a backdrop of saloon-style piano, church organ, strings, banjo and Ginsberg's sepia-toned, hushed poems. But in the album's closer, "White, White, White," Ginsberg careens into a stone wig-out. It sounds like a dream where Janis Joplin, on a bad trip, runs from dogs through the quiet hallway outside your apartment. That sound was producer Scott McMicken (and Dr. Dog co-founder) telling her to finish the song somewhere else.

"He was like, 'Get in the hall,' so I just got in the hall," Ginsberg said. "There was a huge ladder and I started kicking around and going nuts, and they put a microphone out there."

The quiet moments are balanced by the brisk tempo of the album, which contains meandering Doors-y moments that reveal an artist with nothing to lose. Meanwhile, with so many vibrations from the Sixties/Seventies golden era of British folk, Ginsberg acknowledges the rich paradigm she's working in, and hopes to change it.

SATURDAY SHOW
Ginsberg said she fell into music on the way to becoming a sculptor, maybe a writer. By the end of her college days, she found her voice while playing songs for audiences eager for more. She will join Norman indie outfit Sharktooth for a 9 p.m. Saturday show at Opolis.

"I just really like words. It just facilitated being able to write more songs," she said. "I took some experimental voice classes. The more I found out things about my voice, the more I found that as another mode of expression."

Her lyrics contain the sophistication of a considered short story ("I am running off the graces of your pleasure"), and there's special lyrical attention to the otherworldly. At one spot in "Red," she tackles perdition, and in "Wind or Degree," her voice transforms with ghostly acoustics and sundry found sounds lurking behind. Here she's out of the past and in a church choir, and paradoxically in its rotating energies. It sounds immediate.

"One song has many potential places it can go, and what's right to me is doing what feels right at the time," she said. "I'm trying to be more precise now " the songs change a great deal depending on who and what they are exposed to." "Danny Marroquin

 
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