Lisa Germano has been operating behind the scenes with popular, critically acclaimed artists for quite some time. She’s contributed to everything from bland radio rock with John Mellancamp (sans Cougar) to visceral punk rock with Iggy Pop, to non-rock with Jewell. Yet, on the Hoosier native’s Lullaby For A Liquid Pig, her eighth proper album (released originally in 2003, newly re-issued with bonus disc) proper “rock” as a rule isn’t the order of things. And neither is it non-rock. The album is drenched in aural and lyrical surrealism to the point of downright attaining divinity; at times, it’s challenging in its shrill undulation; but what gels though, is an out-and-out masterpiece that is as off-kilter and affecting as the early Tori Amos records. But unlike the more famous preacher’s daughter, Germano is more “big girl” affecting, her songs not settling for the broken adolescent imagery; instead, she chooses to litter the oddly accessible work with dirges, reflections and dreams. Her songs are filled with the sad kindling of real life tragedies – lots of boozy images; the word ‘alcohol’ appears numerous times, as do its unfortunate affects. The songs “Dream Glasses Off” and “From A Shell” appear back to back, and knit together into almost the same song, indicative of the album’s overall cohesiveness. It drones on with desperate, repetitive laments – one particularly riveting is the mantra, “it’s a buzz, it’s a buzz.” It goes on and on. Is Germano reflecting on the slight euphoria, pre-alcoholic black-out, when the innocence of letting go is still at hand? Or is there more – is it a dream statement, a non-reality statement? Answers don’t come in definite form during the brooding, autumnal 12-tracks that is Lullaby For A Liquid Pig – there are decidedly more questions offered.
The bonus disc of 11 more tracks supplements Lullaby in a loose way – it’s more of a reflection on the experience of bearing witness to Germano’s live charms than anything else. She’s shy, sly and funny in a cute way, and her crowd is enthusiastic. Her two aforementioned songs that provide such a basic complement to one another appear, but not in tandem like they seem intended to. The highlight of the richness of material is a 14-minute medley of songs “Way Below The Radio/Guillotine/Moon Palace/Wood Floors/Pearls” which sweeps through her unique aesthetic in inspiring, evocative fashion. The depths of Germano’s musical talent and her ability to summon it seem all but bottomless.
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