Mary Elizabeth Remington (from the album In Embudo

Mary Elizabeth Remington (from the album In Embudo

Mary Elizabeth Remington (from the album In Embudo available on Loose Music) (by Bryant Liggett)
Mary Elizabeth Remington has made a lonesome record. Her voice is lonely, the instruments, which are sparse, play forsaken melodies, and Mary Elizabeth Remington sounds like the last soul left alive. That desolate isolation is sometimes all you need or all you want. In Embudo, at times, doesn’t even play like a traditional ‘record’ as it offers a delivery in the form of a spoken word release, with Remington doling out a vocals that are sad; singular stories as much as songs.
Mary Elizabeth Remington does a lot without instrumentation. “Dresser Hill”, “Mary Mary”, “Green Grass”, and “Mother” come with only a few additional voices, a crackling campfire choir dropping deserted campfire tunes. The The instruments, when they make an appearance on In Embudo, come at a slow and guarded pace. Accompaniment in “Fire” is dominated by a chunky, clunky, glorious second -hand rhythm section that carries over into “Holdfast” while “Wind Wind” and “Water Song” come with natural, ambient additions that serve as audio additives to the tale. Move past the natural sound additives and you’ll dig into the gospel harmonies that boost “Water Song”.
In Embudo is not light and fluffy Folk music. Nor is it traditional Folk music. Mary Elizabeth Remington’s vocals are smooth, yet dark and deep, her narratives coming with a slight ambiguity while also being homey and real. This is fun and weird avant-Folk that may sound strange to a Folk crowd, who will ultimately benefit from the unique presentation. (by Bryant Liggett)
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