Reina del Cid‘s The Cooling sounds effortless. del Cid can meld her gentle alto voice seamlessly with a warm acoustic guitar and thrumming stand-up bass to create the sort of music that just sounds right. (She can also rock a full band arrangement, too–note the excellent “Mice and Men”).
From opener “Sweet Annie” to “The Fall” to “Morse Code” to closer “Death Cap,” she pulls elements of singer/songwriter, indie-pop, folk, country, and even blues together. The result is an infectious, engaging sound that gives her room to set up her mature, composed vocal and instrumental melodies. There’s a balance between joie de vivre and earthy certainty that results in tunes that feel close to her heart but also not weepy and introspective.
I want to sing along to the tunes, but I also want to sit back and let them hit me. It’s “Morse Code” where this hits hardest: it’s a break-up song with a sort of spurned-lover disaffection (famous of female country tunes) poured into a gentle guitar strum that falls somewhere between folk and indie-pop. Her voice has some gentle reverb on it that give it some depth, but the earnest melody could have carried it on its own. The lyrics shine as well, taking a different tack on the tried-and-true subject material.
The Cooling is one of the most enjoyable records I’ve heard all year: you can love it at multiple levels, and that makes for great listening. If you’re interested in Ingrid Michaelson, Regina Spektor, or other innovative singer/songwriters, you need Reina del Cid in your ear.