Tochter von Kate McGarrigle und Loudon Wainwright, Schwester von Rufus
Wainwright! 2005 soll das erste ganz große Jahr für das mittlerweile
schon 29-jährige Supertalent aus dem berühmten Musikerclan werden.
Eine Gastrolle im derzeitigen Scorsese-Erfolgsfilm 'The Aviator', ein
Vertrag mit Rounder inkl. angekündigter voller CD. Das war nicht
unbedingt zu erwarten nach bislang nur einer Mini-CD aus 99 und manchen
Kurzbeiträgen im Familienrahmen und bei Dan Bern. Zu verquer und
unangepasst erschien die ungewöhnliche Singer/Songwriterin bislang,
weitgehend uninteressiert an ihrer eigenen Karriere, dafür hoch geschätzt
von Kollegen wie z.B. Norah Jones, die den Titelsong ihrer aktuellen 4-Track
Mini-CD 'BMFA' für den stärksten des gesamten Jahres 2004 hält.
In der Tat besticht die Wainwright mit einer Wahnsinnsstimme und einem
hohen Grad an Emotionalität, egal ob auf einer verspielten Ballade,
dem gespenstischen, fast paranoiden Opener oder einem harschen Electric
Indie Rocker à la Kristin Hersh.
(Glitterhouse)
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As the daughter of folk music giants Kate McGarrigle and Loudon Wainwright
III and sister to chamber pop auteur Rufus Wainwright, drama student turned
singer/songwriter Martha Wainwright is no stranger to the business. Bloody
Mother Fucking Asshole -- an image best not taken literally -- is her
first release since 1997's eponymous EP, and if it's any indication of
the soon to be released full-length -- also eponymous -- it heralds the
coming of yet another original voice from one of music's most dependable
gene pools. Wainwright's husky voice has matured into a thing of real
beauty, and her ability to sound both majestic and totally wrecked helps
to humanize each track -- especially the title cut -- without sacrificing
any of the volatile confidence that fuels lines like "Poetry has
no place for a heart's that's a whore." Unlike her showier brother,
her arrangements are simple and stripped down, lending weight to her femme
fatale lyricism and wry introspection. Wainwright is obviously an old
soul -- she cracks like Bonnie Tyler, breezes over notes like Björk
and croons with the kind of weary sensuality that most artist's don't
discover until their golden years -- but her style is just as informed
by contemporaries like PJ Harvey and Cat Power as it is by Patsy Cline,
and when she says jump, the listener's immediate response is "how
high?"
(by James Christopher Monger, All
Music Guide)
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