Jennifer O'Connor
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Jennifer O'Connor

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Music

The best kept secret in music

Press


"Paste Review"

If Kathleen Edwards and Liz Phair were thrown in a room together and forced to get along. "On The Color and the Light singer, songwriter and guitarist Jennifer O'Connor gets a helping hand from most of Richmond, Va's make. The band's subtle muscle adds depth to the singer's finely imagined tales of inner turmoil. The title track is given a feeling of almost unbearable melancholy by producer Al Weatherhead's pedal steel contributions--long sustained notes ring in a ghostly, most uncountry style. O'Connor's minimal vocal approach intensifies the bleak loneliness of her tales; the sound of a woman holding onto hope although everything around her is falling to pieces. When she sings, " I know that I'm saved," you're not quite sure if it's a prayer or a curse. Even on rockers like "Beg or Borrow Days" and "Million Dollar Smile," her poker faced delivery undercuts their optimistic message, giving the lyrics and ironic spin that intensifies her songs' excruciating tension." - j poet - 4 stars


"CMJ"

Now that Liz is lost in the Matrix, Brooklyn’s Jennifer O’Connor (originally from Connecticut) picks up the ball and buck-n-runs with it. Right from the get-go, The Color And The Light explodes with some of the most compelling mid-fi indie since Exile; O’Connor shares Phair’s deep register, droll delivery and the endearingly limited vocal range that enhances expressiveness rather than hinders it. While these parallels serve as a savvy calling card, O’Connor quickly outpaces them. She’s a more proficient guitarist and (should we go there?) whip-smart songwriter, as evidenced on sparse tracks like the haunting “Saved.” She’s flexible enough to spike the mix with an occasional twanger, and descriptive enough to breathe lyrical life into boy/girl battles without resorting to sexual bluntness. On the album’s second half, O’Connor relies on sheets of melodic feedback for a gauzy dream-pop effect, vowing on the sparkling “Beg Or Borrow Days,” “I’m gonna drink black coffee all night long/Until I write the perfect song.” Based on the trajectory of The Color And The Light, she may not even need as much as a venti.
- Glen Sarvady - CMJ


"American Songwriter"

Jennifer O'Connor is kind of a Liz Phair without the rampant sexuality and explicit lyrics. At times she cranks it up with heavy guitar fuzz ("Million Dollar Smile"), but she also slows it down, getting dark and trancelike ("Why Don't You Do?"). Similarly, O'Connor has one of those voices that lacks a lot of inflection but no depth, which allows her to tackle different styles of music by never overdoing songs. "Saved" and "The Thought of You" are ambient acoustic tracks reminiscent of Elliott Smith, and "Beg or Borrow Days" and "Hole in the Road? have an alternative- country air about them. She's not struggling lyrically either. "If your memory had a timeline/I'd know right where to begin/Driving down that road in Georgia/where the first chords started in," from "Hole In The Road", reflect her inspired lyrical style. Regardless of the Genre, one realizes O'Connor is an undeniable talent."
- evan james - American Songwriter


Discography

The Color and The Light LP 2005
Jennifer O'Connor LP 2002
Truth Love Work EP 2000
You can hear tracks on my website www.jenniferoconnor.net
Many tracks from The Color and the Light are being played on college radio

Photos

Feeling a bit camera shy

Bio

Sometimes a talent comes along that stops you in your tracks.

It's a voice that's aching and real. It’s a song that's as uncompromising as it is unsentimental. It's a record that moves your feet and tugs at your heart.

It's Jennifer O'Connor singing songs from her soon-to-be released album, The Color and the Light.

After making a name in the Atlanta music scene with her former band Violet, O'Connor moved to New York and promptly announced her arrival with her self produced EP -Truth Love Work -a sparse, affecting solo project that earned her comparisons to fellow Brooklyn transplant Elliott Smith. Following on its heels was O'Connor's self-titled full-length record, earning raves for its stunning attention to narrative and emotional detail. The strength of that record led to gigs in France, England, and across the USA.

Jennifer's new album, The Color and the Light, was produced by Al Weatherhead (Mary Timony, Mascott) at the Sound of Music in August of 2004 and features additional instrumentation courtesy of the Richmond, Virginia-based band, Maki. The strength of O'Connor's songwriting and guitarwork, coupled with Maki's contributions expands greatly on the sparser sounds of her previous releases.

Listen once and find immediate links to Mazzy Star and Liz Phair. Listen again and the surface similarities fade away: Jennifer O'Connor sounds like no one who's come before, proving she’s a musician as dynamic and essential as the color and the light.

"Singer songstress O'Connor's mature melancholic songs flow nice and slow like a lazy stroll through a rainy day with a fine selection of Elliott Smith and Liz Phair on your walkman." -- Village Voice

"O'Connor is only interested in making music that she herself likes and respects, and it shows." --London Times

"O'Connor's work communicates the belief in the perfect song; the song that reminds you or makes you look forward to, the song with that line that cuts right through to you, the song with the melody that you can't resist." - Pop Matters