On her website, Atlantic recording artist Meg Myers’s bio appears in lyrical form: “I used
to live in the smokey mountains of Tennessee / Now I Live in Los Angeles… I used to be a Jehovah’s Witness / Now I celebrate my birthday… I didn’t go to high school / Instead I built forts… I sing / I play guitar, piano, and bass… I will always make music… XOXOXOXO Meg.” If that doesn’t capture your attention, well, you should just check out the creative alternative artist’s captivating EP, Daughter in the Choir. Different from everything else yet touching its bases with alternative, rock and roll, pop, and singer-songwriter, Daughter in the Choir is captivating.
On brilliant opener “Curbstomp”, Myers puts herself out there for her listeners: “I’m a sinner, I’m a liar / want forgiveness, but I’m tired / I’m addicted to the fire…” It’s all capped off by the titular lyric, “I’m a daughter in the choir.” After brilliant, uncluttered verses, the refrain is composed of simple, though expressive “ohs”. Meyers ‘brings it’ on the bridge, contrasting her formerly breathy lead in favor of powerful vocals.
Keeping the momentum strong, “Adelaide” finds Myers exhibiting some feistiness as well as some admirable falsetto. When she opens vocally, there is some influence of Fiona Apple in her lower register, which is always promising. Her ‘feistiness’ shines on the refrain: “Every moment I surrender / is such a waste of love / you can’t hold me down boy / tell me what the hell you want / and I don’t wanna cry about it / don’t wanna fight about it / I just gotta let go, I just gotta let go…” The biggest quibble? There are some slight pitch fluctuations, but the other side of that is it shows a human side as well as the rawness of Myers’s art. Believe it or not, not everybody is a pitch perfect pop star. Some pop stars aren’t…we’ll save that for a later post!
“Tennessee” is brief (just over two minutes in duration), but definitely exhibits a big personality. Again relying on her autobiography, Myers “just wants some Tennessee” (*sings in falsetto the “-ee” at the end of Tennessee). And for good measure to showcase her roots, she even throws in a banjo.
“After You”, which opens with melodic piano, proves to be another well done number. The vocal production is solid, with Myers opening with smooth vocals on the verse. “I’m falling in deep / do you already know my love is after you?” she sings on the chorus. Not as good as “Curbstomp”, “Adelaide” or the forthcoming “Monster”, “After You” is a bit lengthy, clocking in just under five minutes. Even so, it ain’t bad! “Poison” is arguably the less satisfactory of the two. That said, it has its moments. Sure the “I really want your poison love…” lyric is gimmicky (“love” is exaggerated like times ten thousand), but it at least captures one’s attention if nothing else.
“Monster” is one of the shining moments of the set. Well written and established in the alternative-pop/singer-songwriter vein, “Monster” is quite different from most things on the radio these days. Myers once again refers to herself as a sinner (“I’m a f**king monster / when all I wanted was something beautiful “) later affirming it further (“Oh what it takes out of me to lay by your side / oh how it aches and it aches / you make me wanna die / I gotta kill you, my love…”). That would be a scary situation. As a song itself, it is among the elite of Daughter in the Choir. Need a contrast with more electronic production, check out “Monster (Semothy Jones Remix)”.
If you haven’t checked out Meg, you should – you just might be impressed with the Daughter in the Choir. I was entertained at least.