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

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The push notes helpfully suggest out that Meredith Godreau determined the surname Gregory and the eagle to "avoid she being viewed or pigeonholed as a mrs singer-songwriter." never mind the reality that she is without a doubt female and without a doubt a singer-songwriter, and also a "female singer-songwriter" in the generic neo-genre feeling at that. Not only will no one be fooled by the fake band name, currently she"s additionally saddled through a twee moniker that brings come mind children"s books and assorted Wes Anderson-isms.

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

Yet Moenie and also Kitchi does have an x-factor functioning in its favor, and also that"s producer and multi-instrumentalist Adam Pierce, of mice Parade fame. Supposedly, many of Godreau"s vocals and also guitars were taped in the same take. If they"d stopped there, the album would be pretty dire indeed. Fortunately, Godreau has no qualms with adorning her skeletal songs with a tiny meat. The loose drums and buzzing strings the "Oats we Sow" offers the otherwise off-the-rack track a slight tinge of unpredictability. A similarly just slightly left-of-center method helps "Doubtful" to escape a descent right into third-rate Kate Bush, particularly when the sub-sonic base rumbles and amorphous etc kicks in. "Ghost" also comes near to in reality rocking, and the horns are a pretty touch, too.

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Unfortunately, the songs room awfully ephemeral. Godreau"s crystalline voice is remarkable, and also it"s regularly mixed high, as if there were any means to miss out on it. And there"s no doubt the she has actually a means with curiously unresolved melodies. But there"s a limitation to she voice all the same, which never wanders too far from the same selection or timbre. That leaves a song such as the aptly title "Voice favor a Bell" virtually invisibly pretty. It"s up to the subtle idiosyncrasies of the production and also arrangements-- the puffy of approximately noise the ends "Super Legend", say, or the percussive electric guitar the propels "Harmless"-- come coax the disc out of coffee-house purgatory. However it never quite tips the balance.