How NOT to write about music – 91. Haley Heynderickx

Haley Heynderickx

Some sweet, awkward music in a sweet setting. I like the fact you can hear the joins, anticipate the embarrassment. I like the fact she can articulate her songs, that there is thought – possibly too much thought – behind them. I like the fact you can hear echoes of The Roches in her (don’t say winsome, don’t say winsome!) winsome music and gently teasing harmonies. There again, I love traces of The Roches wherever they may fall. I love the trombone, even if it does sound too mournful and worthy for my comfort zone.

Note to self: not sure how a trombone can sound worthy. Wonder whether this word is being used as an euphemism.

It’s the first song I love the most. The next too are too fussy and self-aware, and self-consciously smart. Nothing wrong with being self-conscious or smart, just the linking of the two can send tremors down places I would rather the tremors did not travel. I greatly prefer this song:

And I greatly prefer this live version to the recorded version, which feels a tad too solemn and over-produced for my own very particular taste. It’s a thin line that separates, etc etc etc.

From Portland. Of course she is.