Slow & Steady Seduction: Phase II

来自美国California的一个甜声音，Anya Marina她的原职是DJ，一听声音也不足为奇了，如一个小咖啡馆的轻声细语，像是在讲青涩物事，旅途中连空气也变甜味了。刹然让你遇见从前的自己，回温在叮咚的弦乐，或是拍掌声，加个清碎的口哨子。你在《Slow & Steady Seduction》都找到了。原来褪色的时光，正在开端着。再前进，这次Anya Marina让我拒绝冷调。

With her Joey Lauren Adams voice, sex-kitten strut, and confident pop/rock melodies, Anya Marina sounds fairly grown up on her major-label debut. 2004's Miss Halfway found her pitching a batch of bedroom-folk melodies atop acoustic guitar chords, but Slow & Steady Seduction: Phase II owes its energy to the dancefloor rhythms created by producer Brian Karscig (of the raunchy rock act Louis XIV), whose influence helps boost Marina's confidence and volume. She remains rooted in the singer/songwriter tradition, meaning she writes for the discerning listener rather than the oversexed club attendee, yet Marina nevertheless welcomes elements of glammed-up rock into the album's best songs. "Afterparty at Jimmy's" builds its foundation on electric guitar and booming snare hits, with Marina's snarky commentary on the SoCal hipster lifestyle ("So you say you've got a band? Mmm! Three parts Kinks and one part the Jam?") providing the snarky icing on the cake. Several tracks earlier, "Move You (SSSPII)" opens the disc with soft croons before careening into stomp-clap percussion and quick harmonies, while "All the Same to Me" pairs thudding drums with neo-jazz instrumentation. Anya Marina sounds coolly cocky throughout, whether she's asserting her dominance over an intended partner ("one of these days, you'll be falling for the least of my moves") or speaking Spanish during a cover of "Waters of March (Águas de Março)." This may not be the same girl who bemoaned her average-ness in Miss Halfway's title track, but the new Marina is much more fun.