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Review: A hedonistic, vampish alter-ego called Pearl creeps into Natasha Kahn’s hypnotic soundscapes and dreamy fairytales on album two. The self-destructive femme fatale, based on Kahn’s hard partying in New York, adds vixen and venom to the ethereal, folksy balladry as she continues to borrow from Bjork, Joni Mitchell and looping electronica. The hushed grace of Daniel swirls and broods into a dancefloor comedown, Siren Song swells, soars and gently breaks into a cracked refrain, while the cosmic cacophony of Moon On Moon adds to the starry mystic. Grandly cinematic yet deeply intimate, dual contrasts course throughout with Kahn even managing to charm Scott Walker out of reclusive exile to groan eerily over final track The Big Sleep. A synthed-up more confident voice emerges - not to be blinked at.
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