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“That voice, though, is still the most arresting thing on Around the Bend. In conversation, it is has dewey and cottony edges, like an instrument meant to reassure and comfort. In song, however, it opens up into something more dramatic, shucking its conversational cotton and tapping into frank emotional reverberations. On “Fire in the Kitchen,” she begins with elliptical and rangy purring then shoots into an ominous and high head voice, a sort of mournful prairie wail, with Moscowitz burning mad psychedelic guitar colors around her. At other times, her voice is simply a lovely and acrobatic instrument, able to carry the whole emotional candor of a tune, especially when backed by minimal instrumentation.”
“It is difficult to classify Ms. Haverly’s sound. Imagine if Joni Mitchell and Aimee Mann had a musical lovechild, and you’d be somewhere in the vicinity of the area that Katie Haverly plays in. Katie Haverly writes powerfully personal songs, and attacks them with a strong yet beautiful voice. Based out of Troy, New York, Katie Haverly plays in a talented but small music market. It would be easy overlook her just up the Hudson from New York City. Don’t. My personal favorite here is Fire In The Kitchen, but it doesn’t matter which one I pick. Every song here is strong, and the emotional sincerity and depth of lyrical content will connect with listeners regardless of their usual flavor of music. Other highlights include Real Good, Coffee and Thoreau, and To Keep And To Lose. Around The Bend is the sort of musical Watershed moment that tells you whether an artist has long-term staying power. I’ve seen the future, and it’s very bright for Katie Haverly.”