1981, Carrie

1981, CARRIE
Static Discos, México ****1/2
Rating: 91
By Carlos Reyes

Carrie is a young revelation from Guadalajara Mexico, her sophomore album 1981 was released early this year, an exciting record that although signs the extension of a splendid singer-songwriter, was the year’s overlooked jewel. My first encounter with her music was early this year with the release of The City EP (Poni Republic) in which she shared credits with The Oslo Deadtrash Project, and later on the year’s best compilation Pero ese olor en el cuarto del piano fue el primer perfume que necesito en su vida. Her music builds on melodic keys, jumps through electronic groundings and yet has the virtue of being charmingly naif. Although very alternative, the motif she embodies feels like that of a pop classicist, while her strikingly shy voice never ceases to disclosure moments of unexpected magic. First, allow me to highlight the beauty of “Japanese Coffee” as it is the album’s centerpiece, not even the finest track but four minutes that showcase what she’s got to offer. A song about ritual, about the ordinary and how it becomes a self-destructive form of living, finding the inspiration to break the mold is up to oneself. She could become a frustrating experience for those expecting splashes of sound at some point, the fact is, not all music needs a rising plot of action or a climax. Carrie offers intimate cohesiveness and if the listener neglects her delicacy, well, it’s not her fault. “Feeding Little Dogs” is the catchiest track here; it was released last year as a digital release EP which included four remixes of the song. "Stumble", the album's best piece, is uncontaminated by any sort of lousiness, it lists the characters necessary to conform to a relationship and suggests that chance is a valid requirement to fall in love. I can actually see myself dancing to the playful strings and back and forth response in “Road Season” and perhaps drink to the album’s instrumental pieces: “Take One” and “Instrumental.” 1981 was my runner up for the year’s top 10 albums; it’s beautiful and audacious, which should be enough recommendation from my part.