Name: Springtime Can Kill You
Brand: Jolie Holland

Tax rate EU

Default:19

Supplier EU

375 Media

Total Cap

Format detail

Colour details

Discogs ID

Limited edition

Colour

Format Music EU

Extended format

Extended format: No

Rough Trade Exclusive

Rough Trade Exclusive: No

Signed copies

Signed copies: No

Download code

Download code: No

Bonus disc

Bonus disc: No

Release date

2006-05-05

Format multiplier

Catalogue number

5935572

UPC / Barcode

8714092678826

Artist

Jolie Holland

Label EU

Anti

Genre EU

Alternative / Modern

Anti- is an American independent recorded label founded by [a=Andy Kaulkin] in 1998, their first release was Tom Waits "Mule Variations" (1999).


Jolie Holland is an American singer, known for her soulful and captivating music. Born on September 11, 1975 in Houston, Texas, she has made a name for herself with her unique blend of folk, blues, and Americana.
With a voice that can range from delicate and haunting to powerful and raw, Jolie Holland has captivated audiences around the world. Her music draws inspiration from a wide range of artists including Nina Nastasia, The Be Good Tanyas, Laura Veirs, Neko Case, Alela Diane, Gillian Welch and many more.
Whether performing solo or collaborating with other talented musicians such as Bonnie Prince Billy and Magnolia Electric Co., Jolie Holland's performances are always mesmerizing. Her heartfelt lyrics combined with her soulful melodies create an emotional connection with listeners that is truly unforgettable.

Newest Listed Items

Jolie Holland's sophomore studio outing for Anti is a leap from her landmark Escondida. While that album traveled seamlessly from genre to genre without trying, Springtime Can Kill You moves at a slower, more labyrinthine pace toward an end that only Holland could conjure. There are many artists these days stepping deep into the rich tradition of American roots music, whether it's country, blues, folk, or gospel. To her credit, Holland is looking for something even more mercurial in her songwriting and cover performances: the American parlor -- or living room in the era before television when the radio was its centerpiece: it was the terrain where many voices, experiences, and stories from near or ghostly far came to life. Here,she articulates them in the present, often in the first person, as musical languages and as well-worn fables from life's margins. Holland's voice, always so original, sounds like it comes from some other bygone era, yet utters itself in contemporary terms; it is the anchor on which all this beautiful eventide music turns. It can be weary, tired, shy, and sly; it can be deeply divided and ambivalent; it can be sexually charged with the notion of conquest and discovery, and in its sultry, suggestive drawl it reveals even as it conceals; it's ready for the next lover's embrace or the challenge of finding it. Still at other times, it's full of grief, or intimate regret, or wide-eyed wonder and innocence at what reveals itself in the moment. It's a voice where there is no grain, only a rounded disclosure that carries within it all the moments the words were born from.

Springtime Can Kill You

Music EU