The Seahawk (October 1996)

Kristen Barry

The beginning. The middle. The end.

Riding the coattails of such great artists as PJ Harvey, Barbara Manning, and Liz Phair, Kristen Barry lets go a bit too soon. Barry's second (major label) debut. The beginning. The middle. The end, is an inhibited album, in which singer/song writer Barry rubs on the hypnotic-blues lotion, then adds a dab of alterna-rock.

The latest craze in the mainstream music biz is signing female singers with little or no talent. This preserves the record companies' "boys-equal-to-girls-signing-deals" so they won't get any flack from the Grammies again.

Unfortunately, Barry is closer to this "signed 'cause yer a girl" trend than original, musically gifted female artists such as PJ, Tori Amos and the like.

For example, the first song, "Nothing's Too Good" is deep, deep in the major groove, pulsating with blues-tones, soulful bass, and sweet hums of melody. Then Barry opens her mouth and sings through her nose. The nasal cry wakens the listener from the "hey this song is pretty good" trance, and makes one realize they have yet again wasted twelve dollars.

Other songs such as "Cool", "Gotta Go", and "Big Girl", follow the finger pointing towards the trash can.

"Created" will be appearing as the next buzz clip on MTV. This song may be worth the album, if one is easily amused. Barry finally allows her voice to go where it should: the land of simple girlie hums and soft wails.

Barry is a talented guitarist. The music itself on the album is beautiful. Yet, you can not get past the teen-angst lyrics written by a twentysomething, and sung by a mediocre vocalist.

All in all, Barry borrows guitar lines from Nirvana's "Territorial Pissings" and "Breed", a touch of Barbara Manning's reaction formation, and a whole lot of PJ blues. If you are looking for a few good female artists, Kristen Barry is not one of them.

Rx - Notagoodalbumin

Dosage: if allergic to horrible music, do not take this medication.