Country of origin:
Type of music generally:
Fierce alternative pop, with an experimental flavour
Most recent release, "The Message (Ladylilt Mix)" (single, 2014); most recent full-length release, Delicate Cyclone (2013)
Tori Amos, Hannah Fury, Terami Hirsch, Pepper McGowan, Mary Lydia Ryan, Veda Hille, Jewel, Joni Mitchell
She's a woman with a piano, therefore there are the inevitable Tori Amos comparisons and actually there are some similarities to the looser Tori of "Icicle" and "Yes Anastasia" and to Pepper McGowan, particularly in the fierceness of her performance and her ability to use the piano almost against the vocal line [I'm sure there's a technical term for this, but I don't know it, counterpoint?]. She has a high, rich, almost harsh voice, which she uses to great effect. She has an engaging way of using her lyrics to tell small stories, so you feel you know the people and situations she's singing about. (Neile)
Recommended first album:
live at studio 43 for a more stripped-down sound, Seeds From The Twisted Pear for a broader sound palette—both are wonderful.
CDBaby or various San Francisco area outlets
Highly recommended for lovers of strong women with pianos
Reba Hasko—piano, vocals
This is a ferocious collection of songs—not because of their topics particularly but because of the power and conviction of Reba Hasko's singing and playing style. It's distinctive and impressive. She can be tender, too, in such songs as "i'm for you". On the first few songs ("w.b.l.", "crimson", "the glamouratti") her lyrics and the construction of the tunes here are a little like as cross between early Tori Amos and early Veda Hille, while "i'm for you" reminds me of some of Jewel's better love songs, and other bits of songs remind me of Jewel's storytelling abilities. Later tracks have hints of Joni Mitchell and Tori Amos again. I don't mean by these comparisons that Reba Hasko is copying these artists, but rather that she has learned from these influences how to create her own distinctive music—once you've really listened to this album you couldn't mistake her work for theirs at all.
2006—Art Camp Records
R. Hasko—vocals, all instruments, except below
Dave Stephens—drums (2)
Inventive in both composition and musically, this is an aurally fascinating album. Dark, beautiful, highly evocative, it even tops the power of her debut. It sweeps you away into a different emotional world, and because of this it's a little difficult to describe—I just want to tell everyone to give it a listen. It's amazing. (Neile)
Reba Hasko—vocals, piano, drums, Wurlitzer, boots, keyboards, percussion
Devin Greenwood—vocals (2); cymbols (2); xylophone (2); glass (3); Hammond B3 (4, 7); Wurlitzer (4, 7); percussion (7); drums (8)
Devin Greenwood and Reba Hasko
The one just didn't grab me as much as the two previous releases. There are so many elements I love in it—it's full of gorgeous and powerful moments—but my ears prefer songs with a stronger sense of form. Where songs on the previous albums wandered, the wandering felt more intentional and nuanced than on these tracks. That said, "Golden Iris" is truly gorgeous, and its open, repetitive structure clearly echos the song's emotion. "Bloody knuckles" is another track tahat draws me in. I also like "The Stallions" a lot, but toward the end it loses me. I hate to ever say I prefer artists to be conventional, but this is a good example of where the artist went a little farther than my personal tastes could follow. I still look forward to whatever she does next and hit repeat on "Golden Iris." Damn, I love that track. (Neile
Write: Reba Hasko, Simon-Dach Strasse 22, Stflgl. R 4 O.G., 10245 Berlin, DE. Phone: (030) 978.852.84. Email reba_hasko @ yahoo . com
DISCLAIMER: Comments and reviews in the Ectophiles' Guide are excerpted from the ecto mailing list or volunteered by members of the list. They are the opinions of music enthusiasts, not professional music critics.
|Entry last updated 2016-07-21 14:07:24.
Please request permission if you wish to
reproduce any of the comments in the
Ectophiles' Guide in any context.
The Ectophiles' Guide to Good Music is copyright © 1996-2004 by the editors.
Individual comments are copyright © by their authors.
Web site design and programming copyright © 1998-2004 usrbin design + programming.
All rights reserved.