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Artist
Carrie Yury
9+ albums
heizung totexperimental
about
Recorded in Shelbyville, Kentucky in May, the disc is tender and fragile in the most human of ways — a 23-minute collection of folk-pop gems that are as a beautiful as they are beautifully understated. The disc is warm and disarming and clearly benefits from the comforting charms of contributors Will and Paul Oldham, Colin Gagon, and Richard Schuler. While Schuler's able drum work may be best known from King Kong and the early days of Louisville punk heroes Squirrel Bait, it's the musical context brought to the table by Gagon and the Oldhams that may be most identifiable by listeners, a colloquial kind of folk-pop that may have defined itself best on post-Palace outings like Joya or Ease Down The Road. But Yury is clearly the shimmering star of Mutter. In addition to penning each of the disc's songs, it's her breathy voice that serves as the magnet at the record's high and low pole points. Much like Cynthia Dall or Sarabeth Tucek to Smog's Bill Callahan, Yury's voice has a sensual, sometimes-smoky and seductive quality that simply invites listeners to pay attention, whether it's on the incredible album-opening pseudo-ballad "Twofer," the playful All Most Heaven pop-rock of "Metastatic," the folky melancholy of "Stain," or the more percussive rumble of "Jar." That's not to say she's not surrounded by sterling performances from her backing band. Schuler's drumming is muted but inventive and perfectly suited to tracks like "Twofer," whose chorus packs an emotional punch that it