Like, why these people can’t see that you could be married to just one of them for the sake of your public life but do whatever you want at home with your “one soul in two bodies” (honestly, isn’t that kind of insulting to Josiah and Kezzie?) remains a mystery. Later, the three of them will sneak off to Roger’s and have him handfast Lizzie with Josiah, just to cover their bases. Make it make sense! Jamie makes the Beardsley draw straws to decide who will be the one to marry Lizzie since they can’t make their minds up themselves, and he handfasts her and Kezzie. Just the other week, Lizzie was correcting Claire for saying a curse word in front of a family dying of dysentery right before their very eyes, and yet she can’t comprehend how those devoutly religious fisherfolk might be against her shacking up with twin brothers. I have a serious question, though: Is Lizzie supposed to be an idiot? She seems genuinely shocked that Claire and Jamie think that her relationship with the Beardsleys won’t go over well with the people on the Ridge and demand she gets married to one of them. Could you love Claire any more than when she took in Lizzie’s retelling of how her affair with the Beardsleys started, including that moment when a very hot and horny Lizzie explained that Josiah and Kezzie are “identical everywhere,” and she’s just like “well, I’m glad you’re enjoying yourself,” but also not everyone is going to be cool with this? Claire’s the best. I mean, she had every right.īut Claire didn’t do that because Claire is a professional.
They have enough to deal with, Lizzie!! Claire is being accused of killing a pregnant girl and is being haunted by the man that assaulted her, and now she has to listen to your story about how the Beardsley twins rubbed you down with ointment when you had malaria and oopsie-daisy you had sex with both of them and now you’re pregnant and don’t know which one is the father? Hasn’t this woman suffered enough? Honestly, I’m surprised Claire didn’t just start huffing her ether right there in the middle of Lizzie’s story. 1, Lizzie and the Beardsleys have to show up and unload all their throuple business on the lady and gentleman of the big house. That two of the album's strongest songs ("Touch Up" and "Polynesia") are relatively earnest is probably coincidental, though Mother Mother's laid-back vibe could use some prodding here or there, at least until their songwriting matures.When it rains, it pours on Fraser’s Ridge, and by that, I mean just as Claire and Jamie are dealing with Malva’s grisly murder, of which Claire is Suspect No. These missteps aside though, the free-spirited Touch Up feels refreshing as an album isolated from a lot of today's worn-out trends and aesthetic mimicry. "Love and Truth", while not as egregious, veers uncomfortably close to tackier female artists like Jewel or Sarah McLachlan, relying more on whimsy than artistry. The acoustic arpeggios of "Verbatim" sound like a loose cover of- get ready- TLC's "No Scrubs", and Ryan Guldemond's crooning about wearing women's underwear smacks of dorky-white-guy-imitating-black-guy comedy. On the flip side, when Mother Mother overstep their eccentric bounds and get downright kitschy, the results are pretty disastrous. Even the standout song's lyrics wise up, with all three singers commenting on unhealthy body image ("I need a touch up!") over the album's most dramatic builds. The plodding title track, with its lugubrious intro guitar riff and stop-start verse, shows that the band's capable of more than just ironic hick ditties. "Oh Ana" is pretty straightforward acoustic pop, rallying around jittery supernatural lyrics and a lush sound crafted by Tegan and Sara producer Howard Redekopp. The bumpkin lyrics and delivery work surprisingly well, thanks mostly to the band's mercilessly schizo shifts from one song section to the next.Īt its best, the band doesn't even need to rely on novelty.
#Mother mother the sticks album purchase full#
Opener "Dirty Town" showcases the vocal triumvirate's singing and charisma at full force as they take turns fantasizing about buying a farm. The vocal carousel of Debra-Jean Creelman and Ryan and Jean Guldemond keeps the punk-folk nuanced enough to avoid mere imitation, bending their acoustic pop from the Breeders to Devendra Banhart. The band's quirky songwriting, combined with its affinity for acoustic-only arrangements, sounds like a throwback to goofy staples such as the Violent Femmes or the Meat Puppets.
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