The New Eves
From there it’s down into the descending riff that powers “Highway Man,” reminiscent of the Violent Femmes' “Gone Daddy Gone,” in a gloriously unholy collaboration with the Slits. It’s beautifully ramshackle, falling apart more than it comes together and barely managing to keeps its balance along its manic tightrope edge.
The New Eves have made an album of surprises, tracks that twist and turn and wander away in unexpected directions, like the sweetly pastoral melodies that rise to decorate the end of “Cow Song.” Sometimes the hints of the past arrive loud and strong, as on the opening of “Rivers Run Red,” with its echoes of early Jethro Tull (specifically “A New Day Yesterday”). Elsewhere, it’s not hard to pick out touches from the Raincoats; in the very best way, it’s music from the jumble sales.
It might sound as if it’s all been cobbled together on the spot in a fit of inspired amateurism, but there are deep minds at work here. That sense of barely hanging on the by the skin of the teeth and the lo-fi ambience make a marked and very welcome contrast to the hi-tech recording that’s so prevalent these days; you’re never going to find a trace of Autotune in here. Yes, there are reminders of the musical past – these days it would be impossible to avoid that – but The New Eve Is Rising is far more than the sum of any references. There’s a brilliant, provocative feminine wyrdness about them that manages to range around the centuries without effort, and offer provocative, singular music. The New Eves have arrived on the scene. They’ve thrown down the gauntlet. And they don’t disappoint.
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