"Stuck in a year where announcing promising, young singer-songwriters is about as credible as yelling Canis Lupus! on Dundas at high noon, Priya Thomas emerges with Armageddon Weather Channel...Turn on, tune in, bliss out."
-CJ O'Connor, Eye Weekly Toronto
"Her vocals are about what you'd get by teaching Jane Siberry's voice, in its youthful (early-80's) angelic purity, how to sing ambitious Tori Amos-shaped melodies to the uncomfortable key and chord-change specifications of Veda Hille, with a fair amount of Tori's mannerisms but not enough to be ghoulish. Her guitar playing, on the six tracks where there isn't another guitarist to confuse the issue, often reminds me of GUYVILLE-era Liz Phair's, but heavily reverbed and with a subtlety that seems more intentional than Liz's naive inspirations ever did. See how "Mute"'s hesitant mix of low 3-note upscalings, in which neither the echo nor her half-whispered singing drowns out the scrapes of her fingernails along the strings, eventually emerges as a slow wall of guitar noise, downshifts again, and adds very Herb Heinz-like chicken-scratch playing around the guitar neck; or how on "Buried" she shifts from "Dance Of The Seven Veils" hollowness towards "Mesmerizing" semi-rock all by herself, also playing twittery accordian.
When I haven't been playing Armageddon Weather Channel this week, I've been spending a lot of time on Curve, My Bloody Valentine, Voivod, and Sleater-Kinney, trying only semi-successfully to duplicate the thrilling feel of Priya's "Antigone" and "Kali". "Antigone" is for me a peak expression of one of rock's agressively elemental forms: a 4-minute battering made of one defined 2 Foot Flame-ish feedback wail; one circling bowed-guitar part that fades steadily into the background; a pounding off-the-beat drum pattern; a bass line that sounds like chopped-up scraps of a funky Flea solo for the Red Hot Chili Peppers; a shiny, echoey but cutting guitar solo a la "Back Of Love" era Echo and the Bunnymen; and a structure drawn entirely from Priya's keening voice, who sings a melody sturdy and varied enough to support the whole structure. The slowly dawning fact that I'd never heard anything quite like them before is somewhat discouraging. It doesn't seem that hard to make. But at least I've heard it now, and if that isn't the point of buying albums, what is?"
- Brian Block, 33 RPM.
released October 13, 1997
All songs written by Priya Thomas. Recorded to 2 inch at Studio Victor, Montreal. Engineered and Mixed by Glen Robinson. Co-produced by Glen Robinson and Priya Thomas. all rights reserved flatearth/socan 1998.