Singer-songwriter Aoife O’Donovan formerly of Boston-based Americana act, Crooked Still has one of those delicate, wistful singing voices. In many ways akin to bluegrass girl Alison Krauss that tends to flit in and out of your senses, beautiful for sure, but at the same time I hanker for a less involved sound from the support, give her voice a greater opportunity than ever to shine. I particularly enjoy her work with Sarah Jarosz and Sara Watkins as part of I’m With Her and though the girls, as is the case with Chris Tile, producer Tucker Martine, Tony Furtado and Laura Veirs all drop by for a song or two the album is one of those recordings the listener may need to allow it time before it finds its level. Despite my comments above is a stunningly beautiful piece of work as with wondrous skill she blends Celtic tones with her New England influences and general acoustic singer-songwriter hues to transcend any invisible boundaries.
O’Donovan isn’t short of players on the record, because in Steve Nistor (drums), Nate Query (bass), Sam Howard (bass), Tim Young (guitars), Rob Burger (piano, pump organ, harmonica, lap steel) to go with her own guitar, and on title cut “Magic Hour” wurlitzer, plus string act Brooklyn Rider she is loaded with fine support. She even has her recently deceased Irish grandfather’s voice add a beautiful edge to colour a couple of tunes, and with a good deal of emotion, sentiment and mood from her visits to Clonakilty and visits with aunts and uncles shared western Ireland charm plays a part on the album, beautiful, gentle and melancholy as sweetness and sadness embrace many of the songs performed.
Producer by Tucker Martine, and recorded in his studio in Portland, Or the record is awash in subtle twists and turns as her voice and instrumental work glides, seamlessly between the mystical “Donal Og”, “Hornets”, “Magpie” and with greater impetus “Not The Leaving” and gentle odes, spare piece “Jupiter” and of a longing feel “Stanley Park”. While with a 1960s pop feel in the melody title cut “Magic Hour” (complete with innovative arrangements) a different feel is brought to the table. Although I find “Porch Light” more endearing and lasting as like a spider's she spins her web to catch those enticed by sounds set in between the music of Krauss and Nickel Creek. Beautiful.
Maurice Hope