Reviews, Picks & Features of Kitty Brazelton's Music



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			“Brilliant and dangerous.” “Enthusiastically recommended.” “A major surprise.”
		“Spellbinding...a natural stage presence.”
			“Pending Armageddon.” “Never less than compelling.”
	“Although this is definitely hyphenated music, there is a dark cohesion, a pervasive mood…it caresses and swaggers, sometimes all at once.”
		“Sexy, fierce, disjointed, unpredictable, humorous…like a good mild natural psychedelic…Brazelton seemed to have drawn energy from…the creative chaos...”
			“Brainy, boisterous and quintessentially downtown… She also knows her compositional way around the music academy… an original, compelling voice.”

“One of the brighter lights on the downtown scene…” “Kitty Brazelton deliberately cut the roots, creating…[an] Ivesian iconoclasm…” —Edward Rothstein “Rich, colorful structures…more diffuse, but also more exotic…”—Allan Kozinn “The cleverest work…was Kitty Brazelton's…”—James R. Oestreich

		“The contradictions and complications of fealty and fucking spill out all over LOVE NOT LOVE LUST NOT LUST (Buzz, CD), an album of impressive nerve by Kitty Brazelton's DADADAH. The capital letters attest both to the group's breadth of color (brass, harp, cello and Brazelton's ambition. Her songs are suitelike minefields of full emotional disclosure, sung with a pop-operatic pow and orchestrated like Kate Bush kickin' it with the Mingus Big Band.”
“musical cinema…where pop-rock and improv jazz collide/commingle/congeal, where beauty and ferocity restlessly reside in close proximity and where contrariness…creates a jarring freshness like two clashing weather fronts prompting thunder and lightning yet ultimately delivering downpours of bracing rain.”
			“Use Annette Peacock, Kate Bush, Siouxie Sioux, Laura Nyro, Rickie Lee Jones, and Jane Siberry as points of ref-erence, but don't expect Brazelton's "musical cinema" to sound like them.”
“Brazelton is a totalist composer, part of a generation that believes that there's more than one way to compose and that all musical genres are available for use, from high modernism to downtown funk. She isn't interested in cheap irony or vain attempts at hipness, though; she's stylistically inclusive because she simply wants to make interesting and original sounds. “There's not a dull piece on this disc: Each is well crafted and has a specific, singular voice. Smashing chords give way to beautiful melodies; trembling, spiky sonorities melt into light-hearted ragtim-ish figurations, and it all happens with an effortless flow.”
			You might wonder how someone's musical appetite can be quite so voracious, but the results are anarchic, wacky and hard to resist.