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Carla Bozulich, the woman behind this project, is a musician I started following some time ago and have been positively impressed with her output in the various projects and bands she’s been part of. With the Geraldine Fibbers and Scarnella, I loved the music almost instantly. Her first album for Constellation Records was under her own name, the album titled Evangelista, which is now the band name.

Powerful as always, Carla's voice is half the show. She has an undeniable presence, whether singing low or almost screaming. Not having heard her previous effort I can’t compare between the two, but I can tell you it’s not like her previous bands I’ve mentioned above; which is good because I want to hear something new from her. The lyrics are still thought-provoking, shocking and may be disturbing to some, but the music goes well with them. Not furious or mad, but her rock is on the theatrical side, as if accompanying her while telling a story. The music goes from the more energetic and angry to being in the role of a mood-setter and responsible for setting the mood without stealing the main lights from her voice and the lyrics. There are some remnants from the country sound that characterized some of the Fibbers’ sound but not too prevalent. But the beautiful sound of this album is thanks to the many musicians joining her here, comprised of as the label puts it: “over a dozen Montreal players, including most of Thee Silver Mt. Zion (chiefly on string arrangements), as well as Nadia Moss (organ) and a corps of local drummers”.

There is a good variation between the louder songs and the more quiet ones, providing the listener with a balanced listening experience, which evokes a wide range of emotions. The best example is the two songs, "The Blue Room" and "Truth Is Dark Like Outer Space" which provide a good contrast in terms of volume.

The more experimental tracks are another noteworthy feature of this album, where abstract and shapeless musical figures are brought to life ("For The L'il Dudes," "The Frozen Dress"). They give a somewhat eerie feel to the album, creating weird soundscapces and evoking mostly grim pictures in my mind. The gloomy mood is intensified in Paper Kitten Claw with the slow rhythm and sad narrative vocals. But with the last track which is the title song, comes more of the great seemingly noise-making that I’m after lately. In a Diamanda style, Carla cries out while accompanied by a “mess” of percussions going on, and the rest of the lineup making sounds to match the non-apparent rhythm. This is a great song/declaration. The “noise” made is done wonderfully, manages to convey the emotions of the lyrics very well. The underlying organ playing (joins later on) is mesmerizing.

I did not so much enjoy each song individually (except for the title track), as I enjoyed the experience of listening to this as a whole piece.

There is no “wow” factor here. It’s about my perception of the sounds in this album. In that aspect, it manages to do what I think is its purpose – I want to listen to it again.

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Reviewer: Assaf Vestin Added: March 5th 2008