i tend to have a strong dislike to most female vocalists, but every now and then someone like these guys comes along.
have a listen.
Some background: She joined the Canadian Children’s Opera at 10, sang for the Canadian Opera Company, and pursued a career in opera (while learning viola and piano) until she attended a punk show and joined a band. Instead of going on to focus on music in college, she listened to NIN and the Knife and started doing production work (for soundtracks and local plays), deciding she wanted to “make classical music with really fucked up, distorted crazy shit on there.”
-stereogum.com
Still, academia's loss was goth-tinged baroque synthpop's gain as Stelmanis sought to create music that would present her as a sort of brooding, electronic Polly Harvey. Austra's album, Feel It Break, mixed by Damian Taylor (Björk, the Prodigy, Unkle), doesn't cover any new ground if you're familiar with the work of Bat for Lashes, the Knife, even Florence. Nevertheless, if you have a penchant for gently pummelling keyboards with some of the sleazy flavour of early Soft Cell, vocals that are ethereal yet powerful - if a little heavy on the plummy hauteur - and lyrics that allude to all manner of dark forces and questionable rituals, then this is your lucky ... Break.
Still, academia's loss was goth-tinged baroque synthpop's gain as Stelmanis sought to create music that would present her as a sort of brooding, electronic Polly Harvey. Austra's album, Feel It Break, mixed by Damian Taylor (Björk, the Prodigy, Unkle), doesn't cover any new ground if you're familiar with the work of Bat for Lashes, the Knife, even Florence. Nevertheless, if you have a penchant for gently pummelling keyboards with some of the sleazy flavour of early Soft Cell, vocals that are ethereal yet powerful - if a little heavy on the plummy hauteur - and lyrics that allude to all manner of dark forces and questionable rituals, then this is your lucky ... Break.
-guardian.co.uk
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