Jolie Holland Awakens the Living and the Dead
Experience is invaluable toward the delicate craft of music. Despite some ingenious qualities, all artists have only a limited amount of entirely imaginative ideas with little to no personalized dimensions involved. Their personal lives encompass a degree of relevantly invigorating reflections – whether it is through their own experiences or those of their acquaintances – that uplift their music into something that is wholesomely personal, consequently making their material enthralling if other more musically-laden elements are successfully prevalent. Whether you look at legends like Bob Dylan chronicling the unlawful justices of historically documented racism in a track like “Hurricane” or Johnny Cash relaying the rite of passage from youth to adulthood on “Don’t Take Your Guns to Town”, the majority of the most venerable songwriters of this generation and past have used both events and experiences that they have personally related to in an effort to make their music much more than a catchy melody or a series of intricately impressive arrangements. They have created art that is both admirably thought-provoking and genuinely invigorating, aspects that many contemporary artists now take wisely to heart. While looking at her influences and admirable method of songwriting, it is quite evident that Jolie Holland values many of these aspects in a form that other modern artists push foolishly aside.
For her fourth studio album, Holland has taken on a thematic approach that will not seem bizarre at all to listeners of her previously acclaimed three albums. Ever since the release of her debut album, Catalpa, in 2003, listeners have been treated to her perspective viewpoints on the present and past, a constantly reoccurring theme among her albums and the songs within them. As one of the founders of The Be Good Tanyas, Holland found her ambitions to be too individualistically expansive for a group […]
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