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Written by Laura Ann Checkett Friday, 24 March 2006 08:38

Lorson’s voice borders the angelic, with a dark sexiness that radiates spunk.

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A poetry reading set to motion, Realistic is a tale of destruction, loss of control, and, ultimately, the recaptured voice of the girl, illuminations that are discreetly scattered throughout Lorson’s accounts of the dark. Intense stuff, yet these intensities lay hidden amid peaceful sounds of a gentle piano, light strings, and even the occasional accordion. Lorson’s voice borders the angelic, with a dark sexiness that radiates spunk, clearly a melodic-mind-over-matter approach to seduce us into the dark, with middle ground tempos acting as a night light so as not to get completely lost.

Realistic’s profound lyrics are related through simplistic, at times downright happy jigs that tend to surface a smile, until you realize the context…shit, you shouldn’t be smiling at all. Yet, whatever the thick and contemplative dark brings, Lorson’s voice allows us to see flickers of light each time, drifting in and out of a path to destruction, loss, and redemption. In the end, some may be left asking, “Are we there yet?” Standout songs include the title track and “Realistic,” a ballad that leaves you in a cloudlike state after the ride. Also noteworthy are “Wait for the Sun” and the Elliot Smith tribute, “Lonely Boy”: “All the things you won and all the beauty in the songs/just left you high and on the floor.” “High and on the floor” is an accurate portrayal of Realistic’s nature as well, adding to the anomaly that is Lorson.