Holly Golightly’s Truly She Is None Other strives to expand beyond the garage-centric sound that she is synonymous with, but the album hesitates to completely abandon the feel of the oil slicks and space heaters from her past.
The record is far from experimental, but Golightly pays enough attention to production to keep things interesting.
The theme of the album is that of a starlet returning to her former forms and styles.
The worn-out, broken-down amp of the guitars on “Walk a Mile” feels warm without sacrificing the bare bones aesthetic of low-end recording quality. Golightly drenches her voice in echo on songs like, “One Neck,” and, “It’s All Me.”
These little touches of studio magic do much to ensure that the album doesn’t fall into the lo-fi cliché of dirty for dirty’s sake.
“All Around The Houses,” features a mix of far out percussion and spaced out vocals that clash with the driving rock mood of the music in a wonderful union of outer space love and down to earth musicianship.
While life on the indie side of the tracks is a prevalent theme in her music, Golightly’s songs are straightforward and accessible.
Featuring lots of songs about people who are gone, or time passing by, or some such change, the album sounds familiar, but it never quite wears out its welcome.
Due in part to highly publicized cameos on the pachydermish album of a certain striped duo, Golightly is now considered the great undiscovered garage rock elder stateswoman.
Whether or not her influence is commanding, she has worked to perfect her craft for some time.
Truly She Is None Other effortlessly shows that Golightly subscribes wholeheartedly to the garage sonic manifesto.
However, she is not a slave to her agenda.