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May 3, 2017In Jeff Tweedy, singer-songwriter Joan Shelley has surely met her perfect production partner. This, her fourth album, is simply magical.
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May 3, 2017Shelley’s light is absolutely irrepressible. She is a tremendous talent, poised for a long and productive career in folk music, with a breakthrough into much bigger things very easy to envision.
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Jun 14, 2017Like her excellent previous album, “Over and Even” (2015), Shelley’s new one is a subtle venture that requires focused listening--put down your phone--to fully appreciate.
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May 25, 2017Her finest album to date and one to live with and cherish; that explains the name then.
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Q MagazineMay 9, 2017This is top-notch stuff that draws comparisons with Neil Young and Father John Misty. [Jul 2017, p.114]
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May 4, 2017The 11-track set is loose, yet never directionless, with melodies that are less stately, though no less comforting than those found on the album's predecessor--Shelley's voice itself is a marvel of sonic palliation.
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UncutMay 3, 2017Under Tweedy's almost imperceptible guidance, Shelley has learned to trust her contradictory impulses. Her shyness is amplified, the words more direct.[Jun 2017, p.32]
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MojoMay 3, 2017Joan Shelley has a trick, at least, of making time disappear, her stately clear voice a rock at which the world flings itself in vain. [Jun 2017, p.86]
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May 9, 2017While it’s a quieter record than its predecessors, and her ceaseless questions and lacerating self-doubt would seem like the opposite of asserting an artistic identity, Shelley’s absence of imposition only emphasizes her enviable patience and burgeoning tenderness.
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MagnetMay 18, 2017It's all such lovely, elegantly refined stuff that it's easy to sink under the spell of its warm, somnolent glow. [No. 142, p.61]
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May 9, 2017Joan Shelley remains a largely satisfying record with some moments of true magic, despite not ostentatiously breaking any new ground.
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May 5, 2017Exquisitely hushed fourth album sounds like a collection of the world's most downcast sea shanties.
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May 3, 2017The risk of taking that deliberately vintage tack is contrivance, and though this album tows the line occasionally, it never disappears into itself.