You Used to Think

Rhythm guitarist and vocalist Erica Pomerance was a singer/songwriter whose coming of age in the hippie flower power era is easily heard and deciphered on this recording. Her strained vocal style is not by any means pleasant, nor is it intended to be. In many instances sloppy rhythmically, idiot savant garage band amateurish, sophomoric, anxious by nature, and unpolished under any criteria, Pomerance and her band of ragtag players ramble through themes both existential and idealistic. They evince occasional oppression and rose-colored visions, and at times attempted improvisation, while lacking a sense of a jazz background suitable for effectively making things up on the spot. Yet there's something quite charming about this folkish, Neanderthal, Joan Baez-copped amalgam, as the group wends its way through whatever substance-induced haze it experienced, approaching a somewhat unique fusion of many American musics grounded in basic rock & roll. Pomerance overdubs her voice in middle altissimo and high winding (and whining) sonance during the title selection, which defines the loose rock, free love era, while multiple bled-over metaphysical phrases underlined by Trevor Koehler's fluttery alto sax identify 'Burn Baby Burn,' and wordless American/East Indian style chanting and tambourine, guitar, and soaring vocals bloom in 'Koanisphere.' The flutes of Gail Pollard and Tom Moore give the music an airy feeling, even though it is by nature quite dirty. 'We Came Via' exemplifies this dichotomy as Moore's musings and humming counteract a sped-up inconsistent rhythm in this clearly stoned music. Similarly, 'The Slippery Morning' has a heartfelt approach but a naive result. 'The French Revolution' is a funkier protest story vs. song, again featuring Moore; 'Anything Goes' is indeed free prose in an atmospheric bubble with a ritual core; and Pollard plays sitar quite competently on three tracks, including the warbling 'To Leonard from Hospital' as Pomerance expresses an association to Grace Slick, but without the nuanced mystery. In many ways this music is annoying for its lack of sophistication or refinement, but at the very least is completely honest and real. Guitarist Richard Heisler's liner notes comment 'it is what it is not' says a lot. It is music that is not well played, but also not pretentious.