Once upon a time there was a girl who loved to play the cello. She grew up in a house filled with classical music and learned to love the great composers and studied piano and cello every day. We will call the girl Amy. After she left home she discovered a raw music form which left her wanting more than her classical studies. After playing bass in 'punk rock' bands in university, Amy moved to the magical city of Arlington, VA and began playing cello with various local artists (Tsunami, Telegraph Melts, Allscars) as well as touring and recording with others (Edith Frost, Ted Leo, Fugazi, Threnody Ensemble, Jets to Brazil) nationally. While this was all well and good, she felt something was missing. Something unnamed needed to be expressed. She began working with her friend Brendan Canty (Fugazi), who encouraged her to write more of her simple wurlitzer keyboard songs, and then to write lyrics. The two were joined live by Jerry Busher (French Toast) and recorded a self-titled album released in 2003. During this time, she also worked with her Threnody Ensemble bandmate Dave Cerf to compose the soundtrack to the 2003 Academy Award-nominated documentary film The Weather Underground. The newest Garland of Hours release The Soundest Serum reflects the fruit of several years of musical collaborations with gifted friends Mary Timony (Helium) and Brandon Butler (Canyon). While the previous Garland album was mostly cinematic instrumentals, the new record focuses on folk-based cello riffs and lyrical stories.The Soundest Serum was recorded at Canty's Blindspot Studios and mixed by Chad Clark and Brendan Canty This album will be unleashed on Amy's own imprint Noble Task Records on May 15. 'Amy Domingues has played cello on albums by many of D.C.'s biggest names -- Fugazi, Ted Leo and Bob Mould, just to name a few. On 'The Soundest Serum,' she proves she's no mere sidewoman, though, as she leads her band through a strong set nine-song set. The tracks range from the torchy, spooky murder ballad 'Dear Henry' -- highlighted by the cutting guitar work of frequent collaborator Mary Timony -- to the bouncy, piano-driven 'Brick Eyes' to the solo-cello showcase of album closer 'Difficult Run.' There's certainly a medieval feel to the proceedings, but this isn't Renaissance Faire fare. It's hip, seductive chamber pop done right.' Washingtonpost.com.
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