Miranda Lee Richards - Light Of X reviews
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| Billboard |
 Miranda Lee Richards is the unlikely product of underground comics (her father is pioneer Ted Richards), High Times (her mom Teresa is a contributor), guitar lessons from Metallica's Kirk Hammett and a brief tenure in the Brian Jonestown Massacre. Whatever you might expect from that mix is likely not the gentle and tuneful singer/songwriter craft on her second album. On "Light of X," Richards sounds like a Southern California incarnation of ethereal Canadians Sarah McLachlan and Loreena McKennitt, dressing these 12 tracks with warmly swelling melodies; poetic, melancholy lyrics; carefully nuanced arrangements; and smooth dynamics that ebb and flow in a low-key manner. She can carry most any song with her voice and piano or acoustic guitar (check out "Hidden Treasure"). And while "Light of X" seldom soars, it certainly cruises at a pleasant altitude. —Gary Graff...full text |
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| Latimesblogs |
The difference between regular ol' country music and the California variety is the difference between life as it is and what it could be. The Nashville industrial complex makes a fetish out of shoehorning everyday images into grand song structures. L.A.'s ladies of the canyons, such as Joni Mitchell and Miranda Lee Richards, see it differently. They've long traded some of the pop immediacy on the back end for a woozy, magic-hour daze that in the right hands can be just as vital.
Richards often errs on the side of wispy and ephemeral on her new album, "Light of X," but albums can do worse things than wash over you like a hillside sunset. "Early November" and "Mirror at the End" add some creepy, minor-key minimalism to the atmosphere, while "Lifeboat" is so intimately recorded you can hear individual brush hairs scraping the snare drum....full text |
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| Popmasters |
Eight years is a long, long time in pop music. Think of the difference between 1989 and 1997, or 1975 and 1983, or 1959 and 1967. Recording techniques change, audio formats change, genres flare up and die in smaller time frames than this. A phenomenally large number of musicians who were famous at the beginning of the time frame will be virtually forgotten at its end, either working in menial, invisible positions behind the scenes or out of the business entirely.
The gulf between 2001 and 2009, though, doesn’t seem to be quite as epochal. Many of the genres popular or burgeoning in 2001 are still going strong, as are a surprising number of that year’s supposedly-ephemeral stars, and stylistic changes have generally been small-scale and incremental (even given the vastly increased importance of the online world). 1997 to 2005 seems like much more of a chasm, if we are to stubbornly cling to this heuristic. Perhaps that helps make sense of why, even though it has been eight years since Miranda Lee Richards’s debut full-length, it feels like it has only been two or three. The record feels like a continuation, a natural outgrowth of the misty organicism she worked with on The Herethereafter, her 2001 debut for Virgin....full text |
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