Audra’s vocal mix of gravely, down and dirty, coyote ugly and classic highs and lows and in-betweens is the perfect combination for literally any taste.
She has a wonderful crossover with lounge and folk and garage rock-type sounds in songs like Ne’er Do Wells. And though her sound differs drastically on almost every single track, nothing seems out of place. The tracks all seem to meld together as some sort of multicolored jigsaw puzzle. It looks mismatched and sloppy, but all seems to be part of this crazy, talented artist’s plan.
The entire time listening to the self-titled album I felt incredibly uncomfortable. I wasn’t sure whether to dance, chill out, cry, or what. And that’s what made it great and innovative and important. It’s what gave it its claws.
The only evil Audra did isn’t her mismatched, opposing styles, it’s that the album isn’t longer.
On tracks like Climb she mixes driving rock drums, honky-tonk jazz piano and sharp, punctuated and staccato vocals to paint a beautiful and bold song that leaves the listener with a clear sense that this is a girl not to be messed with. She knows what and who she is. And she tells you.
The amazing thing about Audra is that she can go from a punchy, in-your-face song like Climb, to a blues/folk ballad like Two Melodies and not even break stride. It all flows so perfectly and almost naturally.
Even though Audra’s pace can be deeply uncomfortable and disjointed to the listener, her easy, calm and soft manner of delivering her music is so much so that in her songs she not only adds music, lyrics, feeling, etc… But she also adds an element of trust in her listeners.
No matter how uncomfortable you may feel through a listen of her album, don’t fret listeners. Audra’s got it.
Songs to listen to: Little Red Wagon, Two Melodies, Climb.
- Justin
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