Jolie Holland

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The 2012 Line-up

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Jolie Holland
Pint of Blood
$14.98

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It’s debatable whether or not a single voice has been as influential in the last decade as that of Jolie Hol- land’s. In the fringe-famous world of alt-country pio- neers, Holland’s legacy is near the top of the pack, having co-founded the hugely important The Be Good Tanyas and opening the floodgates for a bold- er generation of female singer-songwriters. But as with most endeavors Holland has forged, her muse takes on new and shamanistic forms from project to project, and since saying bon voyage to The Be Goods, she’s blazed a remarkable trail of ingenious post-country/western songwriting. The big break came in 2003 with the release of her first collection of solo recordings, Catalpa—a cerebral exposition that hinted at the pinches of jazz, blues, Caribbean shuffles, and Americana she’d employ much more freely in subsequent albums. 2004’s Escondida, Hol- land’s first studio album, capitalized on those surfac- ing inspirations, and coalesced into a widely—and wildly—replicated singing style, while also spotlight- ing the diversity from which Holland would uncover her crushingly honest storytelling. With the selfsame sparseness as found on her first two releases, 2006’s Springtime Can Kill You facilitated the dreamier realms of Holland’s oeuvre, executing lush pianos and pen- sive guitar over unforgettable melodies and a lyrical introspection that has now emerged as a touchstone of her work.

Holland’s been a sought-after collaborator during her relatively brief career, too. Her voice can be heard on releases as far-ranging in scope as those of Chuck Ragan (Feast or Famine, 2007), Bad Religion’s Greg Graffin (Cold as the Clay, 2006) and on several re- leases from David Dondero.

Following up on her 2008 LP The Living and the Dead, Holland’s latest collection, Pint of Blood, finds her trading in some of the 1920s and ‘30s deliberations she became famous for, and locked into a slightly more linear ‘60s and ‘70s rock groove. The single “All Those Girls” is evidence enough of a more ground- ed, though no-less groundbreaking Holland, and is a great indicator of the talents lying in wait for her au- dience for years to come.

RYAN PRADO

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