I remain a big fan of Containe, the band that featured Fontaine Toups (Versus) and Connie Lovatt. Their two albums are real gems, ones that should have gotten a lot more attention in the whole alt-rock boom of the Nineties. Regardless of that, I'm happy to be reviewing new music from Connie Lovatt today. And her new solo record, Coconut Mirror is certainly a cause for joy.
Lovatt has a wonderful voice, one which may make some recall Victoria Williams or Nanci Gritth, but the material is more elegantly paced and understated. The deliberate "Kid" has a touch of Gram Parsons about it, for example, while "Heart" sways with coiled hope. It sort of makes sense that Bill Callahan (Smog) and James McNew (Yo La Tengo, Dump) are here on this record, as there's a similar blend of the energies of their bands at work on Coconut Mirror. But I don't want to diminish Lovatt's talents by falling back on comparisons; those only work for listeners who've never heard Containe or The Pacific Ocean, really.
Connie Lovatt lets her voice get wrapped around a twang-y guitar in "Lines" and the effect is low-key mesmerizing. This is music that does a lot with simple gestures, and Lovatt's vocals are the kind that have a lot of emotive power, even if she's not trying to scream from a mountaintop. The melodies all retain a folk tint, but this is all closer to down-tempo indie, than that genre. On "Broke" there's a stark clarity that recalls the earlier Elliott Smith solo records, but frankly, all of Coconut Mirror is solidly pitched the same way. There are stylistic variations within the tracks of the record, but the whole thing eases itself in your soul in a pleasantly honest way. Direct and affecting, this is music that's nearly minimalist at times, but which achieves tremendous results in terms of touching the heart of a listener.
Coconut Mirror by Connie Lovatt is out today via chickfactor enchanté. More details below.
[Photo: Gail O'Hara]