Lisa Germano | Review | Grant Capes

In The Maybe World bears the hallmarks of a classically written album of emotionally charged ballads

July 20/'06

In The Maybe World
Young God Records

Young God Records gets the official title of "label that will most likely uncover hidden treasures that will eventually head out to major labels", narrowly beating out Touch & Go for the honors. I mean, if you consider Devendra Banhart, Larsen, Mi and Lau, the Akron Family, and now the lush and enticing world of Lisa Germano.

In The Maybe World is an all too brief taste of this beautiful songwriter's subtle abilities to tug at heartstrings and bore inside your mind. Germano's words are brutal and to the point, accurately mixing inner disappointment with external let downs. Her voice is like a smoldering fire, giving off just enough heat, but also choking you a little. She sounds like she is right next to you, whispering her sweet words in your ear, while alternatively twisting the knife and tucking in the sheets. Accompanied by piano, bass, violin and sometimes Rhodes, Lisa Germano's hushed voice ends up being an instrument far more complex and sublime. It barely rises above the already gently and quiet instrumentation.

Bordering close to the realm of show tunes (mind you, the slow beautiful show tunes that usually happen during the brief moments that a musical makes you cry), the songs of In The Maybe World are unapologetic in their pathos. I mean, one of the songs is called "Into Oblivion", and this ain't no sci-fi metal band singing about dragons, if you know what I mean. Although, the track "In the Land of Fairies" comes across as little bit of a lark, but to each their own.

Played alongside albums by Shannon Wright and Beth Orton, this may seem a little light in flashy effects or heaviness, but on closer inspection, In The Maybe World bears the hallmarks of a classically written album of emotionally charged ballads, just played slightly slower and on more exotic instruments, and sung by a woman who has nothing to hide.