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Taking a cue from Shelby Lynne, the Watsons consult vintage Southern styles for inspiration, incorporating touches of country and plenty of hot-blooded soul.
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UncutHaving grabbed attention for their collaboration with Jenny Lewis on "Rabbit Fur Coat," then their own "Fire Songs," this takes a bold shift in direction. [Mar 2010, p.104]
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Gossamer. That's the best way to describe the new album by The Watson Twins. Like strings of gossamer and gauze, Talking To You, Talking To Me is a supple, soothing effort that's relaxed, reflective and decidedly old-school.
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Although Chandra and Leigh Watson don't employ their entire vocal range on the bluesy "Devil in You," they make up for it with lyrical maturity.
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Under The RadarThe Twins come out of hiding. Unlike the dual harmonies previously heard, they alternate with lead and backing vocals. [Winter 2010, p.70]
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In general, Talking to You sounds like an album that is gradually divorcing itself from history and geography, as the Twins learn to build on that West Coast sound to create something unique and personal. They're not there yet, but give them another tour.
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In looking beyond the confines of the often stuffy alt-country style of Rabbit and their underwhelming debut, Fire Songs, Leigh and Chandra come up with a sound that capitalizes on the richness of their vocal harmonies.
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“Talking to You, Talking to Me” grants each Watson Twin more of a showcase, without abandoning their trademark vocal harmonies. Produced by Russell Pollard and J. Soda, members of the Los Angeles band Everest, it also puts a tougher spin on heartbreak, with a bit more grit and a lot more groove.
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Alternative PressWith a handful of vibrant songs that match either a late-night lounge vibe, or elevate their retro-country game, the album's only major flaw is forcing too many drastic costume changes on their angelic voices. [Mar 2010, p.98]
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Q MagazineHappily thieir mellowness is balanced by musical variety, from Snow Canyon's hint of Emmylou Harrris country to Forever Me, which is pure Bjork-ish torch song indie. [Mar 2010, p.111]
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Over half of the album would benefit from a more lived in persona that the twins evade for the majority of their sophomore set.
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In keeping with this trope, Talking favors spare, shuffling jazz arrangements: the perfect complement to a powerful, emotive voice and heartbreaking lyrics, neither of which make a strong showing on this album.
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The sisterly harmonies and country-tinged arrangements are pleasant enough, but they focus on atmosphere at the expense of melody, a move that leaves the listener emotionally stirred but unable to recall a single melody after the disc’s conclusion.
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Sadly, the songs here are slight and flimsy. Most of them sound like blink-and-you’ll-miss-it backing tracks for under-performing American drama series, pleasant and wholesome as a high-street sandwich, but instantly forgettable.
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The Watson Twins have inherent and proven talent, but it hardly shows here.
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Their spectacularly boring new album has so little dynamic variance that it literally pains the ear.