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The Magic Lantern

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RMC 1 - Hits. Ibiza Morning Radio. Think of singers like Nina Simone, Roberta Flack or Joni Mitchell; their music had a way of seducing you, of lulling you into a world that would not otherwise be accessible. And though it's no more difficult to locate soothing, evocative music today, musicians willing to approach that kind of nurturing grace are few and far between. I guess it's not a coincidence that I chose three female artists as examples, though this rather maternal attribute in music isn't exclusively feminine-- Brian Wilson, particularly in ballads like "In My Room" or " Don't Talk Put Your Head on My Shoulder", had an incredible ability to tap into this realm, as did Nick Drake.

And when you're done with them, prepare a few questions for Manchester duo George, as they'll surely have something to say on the subject as well. In the mids, Suzy Mangion and Michael Varity were high school friends looking for a way to capitalize on their shared music collections and various instruments; their first release as George was a seven-inch titled "The Summer of Stars". These days, the pair specialize in nocturnal folk that isn't far from the rustic eccentricities of Richard Youngs, though it possesses a much sweeter sense of melody i.

Mangion has a tender, expressive voice that reminds me of a young Joni Mitchell, though also of a calmer, older Kate Bush.

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She lent her voice to Piano Magic's "It's the Same Dream That Lasts All Night" from 's Writers Without Homes , an album that almost perfectly exposed the difficulty in making mood music that didn't drift away upon the second listen. Where many new folk groups are content to let spacy atmospherics do most of their work for them, George's songs come from a sturdier place, as if they'd missed out on the last 20 years and instead took all their lessons from Leonard Cohen and the slow songs from White Album Beatles.

The Magic Lantern is George's debut full-length, and should appeal to most people down with the references already made.


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It's lo-fi in places, and modestly experimental with plenty of interesting textures the duo prefer an array of homemade electronics, analog synthesizers and archaic drum machines to software and laptops , but remains consistently, comfortably warm. Mangion sings like the soloist in a country church: clear and optimistic, without any obviously borrowed nuance, and her quivering vibrato fills up the mix when doubled or tripled in harmony.

Multi-instrumentalist Varity also sings, but usually only in harmony, and employs a much less distinctive baritone when he does take the lead, as on the slightly off "The Song the Lonely Heart Remembers". Opening with the brief "Title Song", featuring Mangion's deep harmony vocals over an old upright piano, and leading into the porch-lit shuffle of "Sacramento", The Magic Lantern wastes little time establishing George's way with a mood. Mangion's lilting phrases in "Sacramento" sound like they should be coming from a particularly wistful Southern belle, embracing newfound fortune in the West while waving goodbye to an innocence already left behind.