Rolling Stone (p.146) - Included in Rolling Stone's Top 50 Records Of 2004 - "[She] trills gorgeous melodies with poetry..."
Spin (p.63) - Ranked #40 in Spin's "40 Best Albums of the Year" - "With her pint-size voice and full-size harp, Newsom baffled and charmed indie-folk fans this year..."
Uncut (p.98) - 4 stars out of 5 - "So freshly individual is the 22-year-old Newsom, it's like decoding a Picasso or retracing Escher's op-art illusions."
Mojo (Publisher) (p.78) - "Her songs sound ancient and childlike, part Appalachian folk reverie, part Roald Dahl yarn."
Mojo (Publisher) (p.110) - 3 stars out of 5 - "Over and above her gorgeous, spare arrangements for harp, piano and harpsichord, it's Joanna Newsom's voice that really steals the show....This is a weird, dark record."
Personnel: Joanna Newsom (vocals, vocals, harp, piano, Wurlitzer piano, harpsichord); Noah Georgeson (guitar, background vocals).
Joanna Newsom plays the harp, looks like an elf princess, and sings in a squeaky child-like voice, all of which contribute to her unique charm. Like her pal and frequent collaborator Devendra Banhart, she's also a shining light of the early 2000s neo-folk movement, which bonds quirky wordplay and fuzzy eccentricity with a deep reverence for authentic rural folk.
Whether accompanying herself on harp, harpsichord, or piano, Newsom plunges into the archaic depths of American roots music and cherry-picks the most heartbreaking passages, weaving everything together with lyrics of shockingly formal eloquence that present dense poetic imagery in the vein of BRINGING IT ALL BACK HOME-era Dylan. Songs like "Sprout and the Bean," "Peach, Plum, Pear," and "Sadie" weave enough elaborate visions for a dozen ballads, adding something more than the expected folksy tweeness. Throughout THE MILK-EYED MENDER, Newsom's lulling harp and odd vocalizing combine to create something utterly original, yet deeply familiar, standing firm at the crossroads between outsider art and genuine brilliance.