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May 16, 2024With her remarkable voice—slippery, shadowy, haunted by the ghost of itself—and dolorous melodic sensibility, Gendron renders whatever she’s feeling (grief, awe, bittersweet joy) as a complex continuum. .... Utilizing a proper studio for the first time, with Dirty Three drummer Jim White and improvisational guitarist Marisa Anderson joining on several tracks, Gendron adds new layers of intuitive fluidity to her songs, while also carving out time just for herself and her fermented sorrow.
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UncutMay 15, 2024Enchanting. [Jun 2024, p.33]
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MojoMay 15, 2024Gendron places her gorgeous songs on a far more uneasy footing, seeking out new, strange routes for these ancient folk roots, resulting in an album that us both comforting and confounding, and depthless in its strange beauty. [Jul 2024, p.92]
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May 15, 2024Between its instrumental interplay and Gendron's singing and structural vision, it's a deep and gorgeous classic that moves her into the pantheon of our greatest living songwriters.
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May 15, 2024There are moments on Mayday that feel essential, plucked out of the ether as if they’ve always existed. These chimeras of the past and present illustrate what Gendron does best—digging up timeless sounds only to disrupt them, reenvisioning what’s timeless for this precise moment.
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May 21, 2024Myriam Gendron’s earlier attention to the poetry of others and the rich body of North American folk songs have made her into something of a musical doula, birthing something new while never trying to sever the cord between worlds.
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The WireMay 15, 2024Gendron’s penchant for vintage phrasing gives the record a mid-20th century folk revival vibe that even the guest squalls of guitarist Bill Nace and saxophonist Zoh Amba cannot dispel. Gendron’s singing alternates between French and English; the pitch of her voice is low, but its place in the mix is high, held aloft by her unhurried guitar picking. [Jun 2024, p.57]
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