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Mammas don’t let your babies grow up to be Lydia Loveless.
Not that Lydia’s parental units have anything to be ashamed of, but the type of unhinged, binge-fueled and bawdy rhetoric Lydia Loveless imbibes in is probably not something any parent has in mind for their little princess while she’s having tea parties at a knee high tables with Queen Piggy and Mr. Frog. Lydia Loveless isn’t just empowered, she’s uninhibited. Subtly and coyness are shades she rarely paints in. Instead she opens her mouth and the truth comes out unfettered, refreshingly honest, and many times, R-rated, revealing her sinful tendencies and struggles with self-admitted inadequacies that sometimes veer her towards self-destructive behavior.
Lydia wet our whistles for new music with an EP released late last year called Boy Crazy. Where that project was a fairly lighthearted, hair-twirling affair with a bright yellow cover and devil-may-care attitude, her latest album and second LP from Bloodshot Records Somewhere Else is decidedly a more dark project with moments of real depth not seen before in Lydia’s young career.
The describers for Lydia’s sound out there are all over the place, from a cowpunk princess to an alt-country savant, but I’ve always thought of Lydia solidly in the realm of a garage-like power pop band with many of the earmarks thereof: economical guitar work, potent melodies, and a punk-like attitude that doesn’t sacrifice the prettiness of the music. Despite where you may see the appeal of Lydia’s music reside, you have to search for the country elements.
The one problem with Somewhere Else is that the instrumentation lacks a bit of imagination and diversity, specifically in the guitar work when looking at the project as a whole. It’s just a lot of strumming of chords, calling on many of the same tones throughout the album in songs that seem to hover mostly around the same keys. No specific songs is worth chastising; in fact on their own they each work just fine, and its more a problem of composition than a knock on the band itself. But altogether, the songs tend to bleed into each other and into the songs of the previous EP.
Those specific concerns aside, Lydia Loveless shows great maturity, depth, and diversity in her songwriting that really shines through whatever shortcomings, and makes Somewhere Else a project certainly worthy of your ears.
“Verlaine Shot Rimbaud” about the two famous decadent era poets and their torrid relationship juxtaposed into the complications of a modern relationship is a brilliant little piece of writing. “Everything’s Gone” is Lydia’s crowning achievement thus far in her career, showing remarkable insight, and delivering a vocal performance that fills as much emotion as humanly possible into the vessel of a story—any more and it would fall apart under its own weight. Both these songs also offer exceptions to the musical diversity issues.
“Wine Lips” is also an enjoyable little tune, and really all of Somewhere Else‘s offerings are embedded with smart little turns and juicy melodies that earworm themselves quite deep. I just wish there wasn’t such a gulf between where Lydia’s writing is, and the sonic palette that she’s pulling from to clothe her tunes. At the same time the young Ohioan is only 23-years-old. She’s got a whole lifetime of music to create, and if Somewhere Else is any indication, it’s going to be productive, fulfilling, and enjoyable.
1 1/2 of 2 guns up.
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