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Location: Portland, Oregon Active: January 2002-Present Reviews: All Music Guide: Fronted by two female singers and backed up by a rock band, Bronwyn is primarily jangly pop/rock but can occasionally be fast and energetic. While relations can be seen between this four-piece and such acts as Cat Power, Tara Jane O'Neil, and Mary Timony, Bronwyn has developed its sound enough on this debut album that none of it seems too close and the majority of the songs readily identify themselves as individualistic, and yet the album is still coherent. With a range of instruments including accordion, piano, Moog, and cello, it makes for enough diversity to see Bronwyn as a respectable act that has come into its own. Through the Fog, Through the Pines is a solid release, yet not without leaving some room to grow. --Kurt Morris South of Mainstream: Mix equal parts That Dog, Throwing Muses, Mary Timony and Sleater-Kinney. Stir in a shot of Sebadoh and a splash of the Cure. Add a healthy shake of unique creativity. Blend well. This delicious and refreshing cocktail is called Bronwyn. Jangly, discordant, moody and vivid, this disc and the musicians that created it earn both my favor and my status as "Bronwyn's newest fan". "Night Pose" has guitar jangle that vaguely resembles the Cure's "Someone Else's Train". "Ten Billion Remote Controls" is very intriguing with a catchy intro and unique time changes. It is also one of the more melodic tracks on this disc, while still incorporating the jangly discord that seems to be their signature sound. The short chant at the 1:30 mark sounds a bit like Tegan & Sarah. The band ad unique texture and sound through use of accordion and moog. Guest cellist Luke Janela adds a haunting quality to the three tracks he's heard on. Check out "In June Minus Moon" for the eerie quality. The vocals are an off key give and take mixed with sweeping harmonies. Sometimes sweeping and lush, at others syncopated and staccato, they are always emotive and interesting. They might not appeal to listeners that require on key consistency. If you're a S-K or Mary Timony fan, you'll soon be a Bronwyn convert. (Side Note: a lyric sheet would be a blessing on future releases.) "Twenty-Two", easily my favorite cut, mixes a bluesy swampland sound with an almost symphonic allure. This song should be gracing an exceptional indie film soundtrack. The vocals are sweetly enchanting while the music builds, flows then ebbs. I will put this song on every mix CD and mix tape I make during the next year and beyond. Reviewed by CompGeekGirl Amplifier Magazine: In the late '80s, a whole string of moody folk-rock bands with bizarrely inappropriate names appeared on the college radio horizon, mixing the neo-psychedelic tendencies and jangling guitars of the paisley Underground groups with the atmospheric gloom of the 4AD Records stable and the coy artsiness of Kate Bush. If the names Salem 66, Downy Mildew, Vomit Launch, World of Pooh or the Cat Heads mean anything to you, you're gonna love Bronwyn. Guitarists Richel Martinez and Sarah Wilmer talk-sing their way through the songs in intriguing counterpoint over simple electric/acoustic melodies flavored with occasional cello and accordion. Even at their most upbeat, as on the perky Ten Billion Remote Controls, a quiet, restrained elegance reigns throughout this thoughtful, often exquisite album. --Stewart Mason Willamette Week's Guide to MusicFest NW 2003: The restraint Bronwyn shows in the deliberate guitar lines, walk-along rhythm and patient vocals of its songs is both beautiful, and an ideal setup for the gentle chaos that springs up within those same songs. The drums kick the tempo up, the guitars start fighting, and female voices cascade. It's not dissonance, it's Bronwyn's brand of sonic massage. Betta Wreckonize: Portland, Oregon is Sleater-Kinney's hometown. Being there you get the feeling that if the Kinney ladies lobbied the local government for the tax abatements and imminent domain necessary to build a giant anti-arena where they could rock out and sell bumper stickers and coffee cups that say "I'll be post-feminist in the post-patriarchy" they might just pull it off. It is hard to imagine then how a Portland band fronted by two women could avoid comparisons to its famous neighbors. And, in truth, there are some similarities in the angularity and rhythmic overlap of both Bronwyn and S-K. But one must venture back to mid-eighties Boston to find Bronwyn's most obvious antecedents. It was around that time Kristin Hersh, Tanya Donelly, Leslie Langston and David Darcizo were charting an unconventional path through the then-thriving Boston pop scene. The influence of Throwing Muses' tortured lyrics and abrasive take on the indie-pop premise can be felt throughout Through the Fog, Through the Pines. Through the Fog, Through the Pines opens with "Night Pose," a song that could have easily been an outtake from Throwing Muses self-titled debut. One of this song's most striking similarities to TM is the interchange between throaty female vocals reminiscent of Hersh's and some more Donelly-like warbling. Add to that Tascam 424-style production, lurching time changes, and jangling guitars and we might have a case for borderline obsession on our hands. This is not to say Bronwyn's fixation is a bad thing. For example, on "Ten Billion Remote Controls" we find the band making an apt personal/political point in a manner reminiscent of TM songs, such as "Hate My Way." I'm also a sucker for a song driven by a metaphor and this disparaging take on consumerism fits the bill. It would be nice if Bronwyn included lyrics in the Through the Fog, Through the Pines insert, though. Like Portland itself, Through the Fog, Through the Pines is a consistently enjoyable experience that is a little long on theme and short on its variation. That said, I'm sure I'll visit Portland sometime soon and when I do I'm gonna git me one of dem post-feminist bumper stickers. -Paul Bugala Skratch Magazine: Bronwyn are fantastic! They're from Portland, and the influence is definitely there, but mixed with a bit of Helium, a bit of Cat Power, and a bit of The Raincoats. With dreamy melodies and female harmonies, they can make you dance or they can make you cry--so watch out! -chad Impact Press: This four-piece, fem-fronted indie rock band hails from Portland and I immediately heard similarities to the angular, jangly style of Modest Mouse. The two female members of the band harmonize vocals frequently and perfectly, playing off each other as well as with each other. The indie rock tunes on here move from slow and emotional to uptempo and aggressive. The whole album comes together as a truly original musical work that bound to catch the ear of many a new listener. (CM) Ink Drinker: This has to be the highlight of my week! A dual female front band ... I haven't heard nor seen a band with two incredible female vocalists since the Dance Hall Crashers, and that was nearly 3 years ago! Bronwyn plays a semi-trippy type emotional rock with abnormal guitar work, which heightened my interest in their music. All of the tracks incorporate some interesting elements that one would not expect allowing for new stuff around each corner. Yet, I can't seem to get into some of the parts that are just "out there" in terms of musical you generally listen to, but it's easy to deal with when those parts are coupled with other fantastic sections. I just now realized something; the sound is sort of brooding to an extent. Sort of like a witch around her kettle, this music would be in the background. Odd as it is, I have enjoyed the record top to bottom for its musical merit. Bravo guys, bravo! Reviewed by Driver Mark Prindle: Having survived the racist, sexist '60s, I am poised to define Bronwyn as a talented, moody Portland band that uses dry, cold guitar textures to play sad intertwining notes and the occasional '80s college radio jangle chord. Two women share lead vocals - so there's NO WAITING!!!!!!!! (on vocals). It's not pop music, nor is it goth. It's like if two people came to your house with guitars and began picking away at songs of various tempo that all make you a little sad or anxious, but in an impressed "hey, nice guitar interplay!" way. Then it's like some guy with a cello comes over and plays on a few songs. Then it's like a crazed ice cream man keeps driving up and down your street blaring a moog, piano, accordion and language master, instead of the usual "Doodily-dooty-dooty-doo --dooty-dooty-Doo-Doo!" song that Korn and Staind are striving to emulate in their high-energy shit rock. Put it all together and WHAM!!!!! HOLY FUCKIN PISSDICKASS!!!!! WHAM IS ON TV!!!!!! GOD, I FUCKIN LOVE ANDREW RIDGELY!!!!!! I BET YOU ANYTHING HE'S NOT GAY!!!!! I apologize for that. Put it all together and WHAM!!!! You've got what the world in its private moments calls a good CD!!!!! Check out the artist's website: http://www.bronwyn.tk Track List: 1. Night Pose 2. In June Minus Moon 3. Ten Billion Remote Controls 4. Against the Island 5. Spotting Ships 6. Twenty-Two 7. Hum of Highway 8. Off 94 9. Friends for Photos 10. No Project No 11. The Saints Suggested CDs:Other Genres:
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