Lisa Germano

Lisa Germano

Lullaby For Liquid Pig


I’ve been told that Lisa Germano’s music is hard to get into, and I’m not going argue with that assertion now that I’ve listened to Lullaby For Liquid Pig. I’m rather proud that I’ve avoided her music thus far, actually (I’ve stubbornly not listened to an ex’s Lisa Germano mix tape for a year now) — she’s such a vaguely trendy artist that it seems an inevitable fact that I’d own all her CDs. But I don’t.

That’s besides the point, really, except for one key word,vague, which is the best descriptor I have for this record. Vague and awkward. It’s a haze, a wash of sound; Germano twirls from song to song on Lullaby, encapsulating the headspinning relentlessness of addiction (the album’s common theme) rather well. Some of it’s really beautiful, some deftly orchestrated, and some expertly sculpted. But there’s also stilted, seemingly-forced songwriting on display (why do Germano’s melody lines sometimes sound so desperately contrived?); and in patches, the sparsity and fuzziness of the arrangements is frustrating. I suspect that this is intentional — the record captures a mood, and it does so with skill (due in part to top-class self-production), but proceedings are too domestically personal to really show off what Germano can do. It’s an album that demonstrates perfectly the distinction between empathising with music and meaningfuly connecting with it, and it proves that the former often leaves one feeling unfulfilled.

Or maybe (the thought has grown inside me as I’ve been writing this) I’m just scared of how accurately Lullaby for Liquid Pig reminds me of what being chronically abusive with drugs (or anything addictive) is like. The more I think about it, the more I feel it could be a combination of this second thought and my first response; and maybe it’s the engendering of that internal uncertainty that is Germano’s greatest triumph here.

iMusic: • Lisa Germano:

Leave a Comment

Your email address will not be published. Required fields are marked with *

Cancel reply

Recently on Ink 19...

  • Preservation Hall Jazz Band
    Preservation Hall Jazz Band

    So It Is (Legacy). Review by Bob Pomeroy.

  • From Montenegro to Moldova: The Best of SEEFest 2017
    From Montenegro to Moldova: The Best of SEEFest 2017

    For the twelfth year, the South East European Film Festival (SEEfest) in Los Angeles showcased an impressive lineup of new features and shorts. Lily and Generoso Fierro provide a festival wrap up and their picks for the films that you cannot miss.

  • Justin Townes Earle
    Justin Townes Earle

    Kids In The Street (New West Records). Review by James Mann.

  • Christian Scott
    Christian Scott

    Rebel Ruler (Ropeadope / Stretch Music). Review by Bob Pomeroy.

  • Kivanç Sezer
    Kivanç Sezer

    Turkish director Kivanç Sezer’s powerful debut feature, My Father’s Wings, puts the spotlight on the workplace safety crisis that is currently taking place in his homeland. Lily and Generoso Fierro spoke with Sezer at SEEFest 2017 about his film and his need to draw attention to this issue.

  • Temples

    Supporting their just-released sophomore record, UK synth-pop poster boys, Temples, attracted an SRO crowd to one of Orlando’s premier nightspots.

  • Rat Film
    Rat Film

    Baltimore. Rats. A match made in Maryland.

  • Bishop Briggs
    Bishop Briggs

    Bishop Briggs brings a stacked bill of up and comers to Orlando for a sold-out party at The Social. Jen Cray joins in the fun.

  • Rumble: The Indians Who Rocked The World
    Rumble: The Indians Who Rocked The World

    There’s more than black music influencing the evolution of Rock and Roll. Native American rhymes and ideas are every bit as significant, once you know to look for them.

  • Keith Morris
    Keith Morris

    Ink 19 slings a few questions to the punk rock pioneer Keith Morris on Trump, Calexit and looking back.

From the Archives