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███▓▓█▓▀ ▀▀▓█▓ ▀ ▄
██▓██ ▀█▓▄ ▀▀█
▓█▓▓█ Artist.....[ Emily Haines & The Soft Skeleton ▀████▄█▓
██▓▀ Album......[ What Is Free To A Good Home? ▀▓██
▄ █▓█ █ Label......[ Last Gang Records █ █▓█ ▄
█▒█▓█▄▀ Catalog #..[ ▀▄█▓█▒█
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▓█▀ ▀▀█▓█▒ Source.....[ CDEP ▒█▓█▀▀ ▀█▓
▓█▄ ▀▄ ██▓ Genre......[ Indie ▓██ ▄▀ ▄█▓
▓▓█▓▀ ██ Language...[ English ██ ▀▓█▓▓
▀ ▄████ Rip Date...[ 2007-07-27 ████▄ ▀
▄ ▀ ▓█▓ Store Date.[ 2007-07-24 ▓█▓ ▀ ▄
█▀▀ ▄▓█▀ Rip Tool...[ EAC ▀█▓▄ ▀▀█
▓█▄████▀ Encoder....[ LAME 3.97 -V2 --vbr-new ▀████▄█▓
▀█▓▀ Quality....[ 177 kbps AVG VBR 44.1/Joint Stereo ▀▓█▀
▄ █▓█▄▓█▓ Url........[ http://www.emilyhaines.com ▓█▓▄█▓█ ▄
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▓█▀ █▀█▓█▒ ▒█▓█▀█ ▀█▓
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█▓ 01 Rowboat 3:08 ▓█
█▓ 02 The Bank 3:00 ▓█
█▓ 03 Telethon 3:20 ▓█
█▓ 04 Bottom Of The World 2:43 ▓█
█▓ 05 Sprig 4:00 ▓█
█▓ 06 Mostly Waving (TodorK Remix) 4:35 ▓█
█▓ ----- ▓█
█▓ 20:46 ▓█
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▓█▓█ ▀ ▓█▄▀ ▓█▀ ▓█ ▓█▀█ ▓█ █ ▓█ ▓█▀ -▀▀▀█ ▀ █▓█▓
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█░█ Turns out the predecessor to the new EP from █░█
█░█ Emily Haines and her assembled band the Soft █░█
█░█ Skeleton was one of the more overlooked records █░█
█░█ of last year. With hindsight, Knives Don't Have █░█
█░█ Your Back was a comparatively grown-up whisper in █░█
█░█ the company of Haines' louder, more slickly █░█
█░█ aggressive work as the frontwoman of Metric. In █░█
█░█ this scenario, it was easy to superficially █░█
█░█ dismiss Knives at face value: A one-off vanity █░█
█░█ project from an artist very familiar with █░█
█░█ collaboration. Yet that appraisal couldn't be █░█
█░█ further from the truth; both Knives, as well as █░█
█░█ its five-song followup What Is Free to a Good █░█
█░█ Home?, are wonderfully singular works themselves, █░█
█░█ quite possibly representative of Haines' primary █░█
█░█ musical strength all along. █░█
█░█ █░█
█░█ Like much of the music from the Broken Social █░█
█░█ Scene cooperative, Home is forged with a muted █░█
█░█ eccentricity, rendering Haines' soft piano/voice █░█
█░█ jazz compositions woozy enough to complement the █░█
█░█ exhaustion in her voice. For example, the sighing █░█
█░█ brass that opens "Rowboat" and accompanies █░█
█░█ "Telethon" doesn't feel too far removed from the █░█
█░█ 3 a.m. trip-hop behind the remixed version of █░█
█░█ "Mostly Waving" that closes the record. █░█
█░█ Lyrically, Home is as lonesome as Knives, yet the █░█
█░█ songs here are tuned to the specific type of █░█
█░█ weary solitude that gradually coalesces after █░█
█░█ successive nights of public socializing. In the █░█
█░█ song that takes its name from her unfortunate █░█
█░█ afterhours destination, she bemoans to a clique, █░█
█░█ "you left me in a bar at the bottom of the █░█
█░█ world," and on "Telethon", she's reached the █░█
█░█ point at which "daylight's like fluorescent █░█
█░█ light." She's both worn and reaching out, but in █░█
█░█ a language leftover from last night's jukebox, or █░█
█░█ perhaps a late-night VH1 Classic binge. █░█
█░█ "Telethon" finds her in a "bruised, Billy Joel █░█
█░█ New York State of Mind," and on "The Bank", she █░█
█░█ asks, "Just like Huey Lewis, I need a new █░█
█░█ drug...that does what it should." █░█
█░█ █░█
█░█ Home's spirit isn't strictly devoted to █░█
█░█ pop-culture coated ruminations, however. Those █░█
█░█ with keen visual memories and/or an interest in █░█
█░█ the Canadian avant-garde might notice a █░█
█░█ similarity between its cover art (and Knives') █░█
█░█ and that of the 1971 record Escalator Over the █░█
█░█ Hill, a collaboration between pianist/composer █░█
█░█ Carla Bley and poet Paul Haines, Emily's late █░█
█░█ father. His 2003 passing cast a pall over much of █░█
█░█ Knives, and this EP's release coincides with that █░█
█░█ of his first poetry compilation, Secret Carnival █░█
█░█ Workers. Of Home, Haines admitted in in a May █░█
█░█ interview with Pitchfork's Matthew Solarski, █░█
█░█ "It's kind of like the final installment of my █░█
█░█ homage to my freaky, avant upbringing." The █░█
█░█ record shares its title with a poem Paul wrote █░█
█░█ for the guitarist Robert Wyatt (who wrote the █░█
█░█ liner notes for Knives), and also features a █░█
█░█ light-headed treatment of his poem "Sprig". █░█
█░█ Especially when considering the heavy-lidded █░█
█░█ sentiment preceding it, Emily singing Paul's line █░█
█░█ "falling asleep for the fifth time early in the █░█
█░█ morning," is much too appropriate to be anything █░█
█░█ but familial. █░█
█░█ █░█
█░█ http://www.emilyhaines.com █░█
█░█ http://www.lastgangrecords.com █░█
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▄▀▀██ 1way AMOK BCC BUTT CMS EGO ██▀▀▄
▀▓█ ESC FNT FTD gF HiT2000 iTS █▓▀
▄▄ ▀▓█ JUST MTD NuHS pyt rH RNS SDR █▓▀ ▄▄
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▄ ░▒▓█████████▓▒░ ASCii By AyL!cRO 2oo5 ░▒▓█████████▓▒░ ▄
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