Cristina Vane shifts between a simmering intensity and a low-key, brooding vocal delivery. She’s a strong guitarist with command of a whole bunch of blues styles and writes sharply lyrical, darkly aphoristic songs. Her narratives are cached in allusive, grim rural imagery more than fire-and-brimstone gospel. Her brilliant debut album Nowhere Sounds Lovely – streaming at Bandcamp – covers a lot of ground, stylistically and otherwise.
She opens the record with Blueberry Hill – an original, not the Fats Domino classic, although the first verse of this intricately interwoven, Appalachian-flavored acoustic slide guitar blues is set in New Orleans. The devil tells her to get out, so she heads to New Mexico – and that isn’t any more welcoming:
We got spiders in the bathrooms and there’s snakes in the halls
We got our women in white dresses gonna walk through walls
And this house is haunted, not as much as me
But I could shake these demons, they’re good company
Travelin’ Blues has an easygoing Piedmont-style feel, Tommy Hannum’s dobro lingering over Vane’s nimble fingerpicking, bassist Dow Tomlin and drummer Cactus Moser giving it a, loping groove. By contrast, the stark banjo tune Prayer For the Blind has a midwest gothic fatalism, an endless cycle where “Time passes on old wounds as if they were brand new.”
Badlands is not the famous song by that 70s rock guy who became a hopeless lockdowner apologist, but a searing, allusively grim slide guitar-driven blues original. It could be a sinister account of antedeluvian rural hell…or a thinly disguised pro-freedom anthem. The big guitar payoff at the end is spot-on.
There’s redemptive solitude in the front-porch folk waltz Dreaming of Utah, Hannum’s pedal steel adding a touch of vintage Bob Wills western swing. Vane reaches for a matter-of-factly strutting Memphis soul feel in What Remains and goes back to blues with Heaven Bound Station, a steady stroll with some neat twin-guitar interplay.
She switches to banjo for Will I Ever Be Satisfied, a spare, lonesome-traveler type number. Vane imagines her ideal guy in Dreamboy, a stomping, insistent, similarly simmering blues: turns out she likes the strong silent type. Then she slows things down with the moody, slide guitar-driven Wishing Bone Blues, rising out of a hypnotic, summery resonance
The Driving Song captures a gloomy, desperate rural atmosphere where “The characters around me, border the absurd/It’s a comedy of horrors, and it just keeps getting worse.” Vane winds up the album the triumphant waltz Satisfied Soul, Nate Leath’s fiddle harmonizing with the keening pedal steel. If she hits the road in the free states this summer, she’s going to make a whole lot of fans.