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MP3 Amanda Green - Wicked Witch

With her eclectic, fun, ethereal and confessional songwriting, Amanda Green takes you on a joyride.

13 MP3 Songs
ROCK: Modern Rock, POP: Quirky

With her third album, South Florida musician Green has fully evolved from the smart purveyor of odd pop on Junk and Stuff and The Nineteen Hundreds to a singer-songwriter of dizzying skill and imagination. Accessible and yet mysterious all at once, Wicked Witch gives the lo-fi aesthetic a symphonic bloom. Ragged guitar tones, rounded piano strokes, ethereal noise and familiar chords all converge in a confessional, orchestrated rush.

The Wicked Witch package is illustrated with keepsakes
from Green''s childhood, and the music often feels like a document of the struggle to grow up. On the opener Give It a Chance, her voice is a curious, distant flutter against a panoramic wall of sound: "Everything was so inviting/I was 15 years old." Green takes an empty-the-hope-chest approach both to composition and arrangement, as if digging through belongings to find the most poignant objects and assembling them in some highly symbolic order. So Many Ways wraps
a near obsessive love in waves of Wild Thing heavy guitar. Until the Morning walks through a gallery of changes, Beatlesque chords, echoes of ragtime and touches of psychedelia, all guided by Green''s gently Vocoder-altered voice. Set alongside all these elaborate songs, Horseshoe is a curve, literally and figuratively, an unadorned piano ballad with a simple plea: "Can you keep me?"

Where and where not to look for love is a recurring question here. The wry, shape-shifting Flashcube Palace warns against being too seduced by pop-star fairy tales
and closes the album with an adage: "Even Walt Disney has never been to Disney World." It''s an apt conclusion, illustrated with a totem of childhood and balanced, like a lot of adults disabused of their illusions, between cynical humor and healthy reckoning

Wicked Witch comes with a companion disc, The "Ghost
Album," consisting entirely of Green''s pensive solo piano compositions. It''s an unnecessary but welcome flourish that takes the listener from Witch''s Byzantine lair to a more
contemplative space where Green sounds equally at home.


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