Search

A Few Short Words

Dense Not Thick

Tag

Evelyn Ida Morris

Pikelet: Goodbye

Article originally appeared on The Music 18 March 2019

Dissonant, diffident, euphonic, euphoric and mildly infuriating all at the same time, Pikelet has been unclassifiable but hugely successful since the release of debut record Pikelet in 2007. Still, since the project’s progenitor Evelyn Ida Morris’ self-titled album last year, it seems like time to say Goodbye to the moniker.

Maybe moreso than ever, Goodbye is very much a Pikelet album, literally its final form. Winsome and vaguely choral vocals, found sounds, and made noise mixed with layered loops all cascade together into an incomparable harmonic maelstrom. Numerous small moments that highlight Morris’ ingenuity, ability and breadth — a subtle ’60s refrain, cascading drum scale or guttural piece of bass funk — are bracing, and make you wonder what Pikelet might have sounded like if they’d hewn to genre or sonic convention, but then the actual effect is so captivating that normalcy wouldn’t be good enough anyway.

The six tracks on Goodbye feel almost exasperated, the sort of farewell you might throw out when walking away from an argument. It’s the sound of a door slamming, both cathartic and shocking. This is a delicious end to Pikelet, though hopefully not the last we’ll hear from Evelyn Ida Morris

Evelyn Ida Morris: Evelyn Ida Morris

Abridged article appeared in The Music (April 2018)

Evelyn Ida Morris’ debut step away from Pikelet fame invokes an incalculable amount of things; Amanda Palmer’s piano, Nick Cave’s film scores, a score of Guillermo del Toro films, classical parlour performances, performance art; punctiliously avant-garde and profound, most notably it is and isn’t any that, hewing closer to the calm heart of a maelstrom in the eye of a needle, something almost impossible to see and almost certainly unheard of.

In (re?)claiming Evelyn Ida Morris as an artist and not merely a member of a growing concern, Morris has dived directly into the heart of individualism in a frankly startling and perversely intimate way. It’s welcoming yet obtuse and certainly not for everyone, which is subjectively the heart of it and the gnawing appeal it wields. 

Every piece carries something cascading and desperate. A haunted timbre like an infectious susurrus blowing through the eaves. Everything is tuned to a maddening key, somewhere in the range of knife sharp, and the percussion does pierce but it’s the occasioning of Morris’ voice, dabbed selectively throughout, that truly captivates.

Evelyn Ida Morris has made something starkly, unexpectedly special, a melodious manifesto  that offers an unadulterated glimpse into a single soul.

Create a website or blog at WordPress.com

Up ↑