The National Lights

BloodShake Records’s (or is it Records’? Yeah, it’s Records’, right? You do ‘s when following a singular noun ending in s? This is what happens when I teach only history classes for a semester…) other artist , Sonya Cotton, was well received here at the ‘hive, so I though I’d pitch The National Lights. Slow and brooding, the Lights provide a further vehicle for Cotton’s lovely voice — here as backing vocals — while setting somber scenes of desolation and vague desire. Well, at least it’s pretty music, even if it’s not exactly fun.

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Sonya Cotton

You know how, with some singers, you can pick up on speech or vocal patterns like accents or dialects really easily, while with others it’s almost impossible? Think about how British Billy Bragg sounds compared to, say, Paul McCartney. Or how a lot of the Swedish and Canadian bands we’ve posted actually sound like generic suburban America. Research has probably already been done on the impact of mass media on localized speech patterns ever since the popularization of radio; heck, this research could probably go back to the effects of court (ruling class) language on the merchant or even lower classes. Anyway, to get to the point, I like how Sonya Cotton sings the phrase “Guard your heart, darling,” in the song below with a similar title. It reminds me of Gillian Welch, and they both remind me of people singing the way they really speak. And sometimes that sounds nice.

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