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Millan's "plain jane" delivery may be occasionally sleep inducing, but it's comfort, not boredom that delivers the serotonin.
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Like a lot of great records, Masters Of The Burial is minimally arranged, slowly performed and quietly recorded; but there's never a spark here because Millan doesn't give enough of herself to it.
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FilterBacked by friends Leslie Feist, Liam O'Neil and Evan Cranley, to name a few, Millan proves to be an intimate and arrow-like songwriter. [Fall 2009, p.102]
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MojoThe songs barely disturb the dust in the room as they gently tip-toe about, Millan's lazy drawl far less deliberate than the clipped enunciation she often exercises on Stars' chamber pop. [Feb 2010, p. 102]
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Her sound sure is pretty, but it doesn’t hook you in the way, say, Cat Power’s self-destruction does.
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Q MagazineIn comparison, the second solo album from Broken Social Scene/Stars vocalist Amy Millan can't help but seem just a little routine. [Jan 2010, p. 126]
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Masters of the Burial lacks the character to be more than the sum of its lovely parts: fiddles, regret, and a pretty voice.
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The music lover in Millan finds that stability in other people’s songs.
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None of this ever feels oppressive because of Ms. Millan’s light touch as a singer.
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UncutFreed from Torquil Campbell's mannered indie melodrama, she gives full rein to her inner country girl. [Jan 2010, p. 121]
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Under The RadarWhile the inclusion of cover songs proves that Millan's writing abilities are more than adequate--or at least adequate enough to stand amongst her peers-- it inadvertently highlights how her delivery leaves something to be desired.