I think we might consider a liaison with her 2004 record Over the Sun, starting from the very simple fact we find the same typefonts on the CD spine of In film Sound: then, you soon sense a certain mutual roughness running over this new tracklist, differently abrasive respect to the harsh softness of Let in the light (2007), Honeybee Girls (2009) or last Secret Blood (2010) - and, oh dear, this is Wright's tenth full-length release if we include also that one with Tiersen.
I am a long-time subscriber of french record label Viscious Circle, so, once read on their newsletter She has got a new record out, I ran and buy it.
Again backed up by Shipping News' fellows Kyle Crabtree (drums) and Todd Cook (bass) - actually their CV-in-Music is much longer than that - who also performed and toured with her in Let in the Light, now In film Sound starts heavily with Noise Parade: slow paced, fuzzy and acid, suffered, and perfect intro for what follows in The Caustic Light, which could perfectly match with Over the Sun's nihilism, like also Tax The Patients, tough the rhytmic section is particularly more enchanced here by Crabtree's carambola.
Who's Sorry Now? - Intense. Pleasantly painful.
The piano songs you were waiting for gets next to your soul with Bleed. Go lock yourself in the bathroom and start crying. Then, rise up, and be ready, because Captive To Nowhere is going to explode right off your face. Maybe I shouldn't tell you and let you taste the surprise of it. Pump up the volume and let burn the house. Probably my favorite track here, together with The Caustic Light. Still more splinters from an inner explosion with Surely, They'll Tear It Down: pure bitterness bliss, I love it. And Shannon Wright keeps alive her distinctive guitar style, something I can't get bored of, - like an extension of her inner pain. "Drink this filthy water from your filthy hands".
Last track, Mason & Hamlin, is an instrumental keys-leaded outro.
I feel satisfied, or maybe I do not, so I go play this record again. Louder..