Independent Clauses | n. —unusual words about underappreciated music

EP: MAITA’s Waterbearer

June 15, 2017

Serious singer/songwriters have a tough row to hoe, as we’re largely past the point where a great lyric can propel you through bland instrumentation or vice versa. You’ve got to be on your game in both categories to make a dent, because there’s a lot of competition. MAITA is up for the challenge, as Waterbearer stands out in both categories. Her debut EP is a surprisingly complex, unusually assured five-song collection that draws similarities to Kathleen Edwards.

Maita’s assured alto makes the listener feel right at home from the first moment. The ease with which she handles lilting high notes and deft syllabic turns (e.g. the verses of “Geography”) are usually the province of artists with many more releases under their belts. It’s not just the vocals that show unusual maturity: the stark yet engaging arrangements are built around warm, clear acoustic guitar and subtle percussion. The bright, unadorned recording style highlights the vocals, guitar and percussion beautifully. It’s an impressive collection of songs from that angle.

The lyrics are another interesting angle. MAITA’s lyrical sense hews toward the Lady Lamb school of lyrics: there’s a clarity of thought that isn’t obscured by the complexity of language she uses. MAITA’s lyrics focus on relational complexity (“Kinder than Most,” “Too Tired to Love You”) but don’t fall neatly into the “love song” / “break up song” dichotomy that singer/songwriters can sometimes get trapped in when they write about relationships. Between the interesting topics and the precise wording, the lyrics are unusually attractive.

MAITA’s debut is an unusually sophisticated take on singer/songwriter work. The songs are interesting from multiple angles, making for multiple engaging listens. Highly recommended.

Stephen Carradini and friends write reviews of bands that are trying to make the next step in their careers.

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