the charts in a perfectly controlled fashion. The poetry of the lyric was a little silly and sounded like a nursery rhyme, but the catchy chorus and the layers of mandolins, guitars, and percussion jumped from the speakers and made it impossible to get the song out of my brain.
When the CD finally came out, I discovered that "Tipi Baya" was no fluke. The twelve-song collection is like a well-worn suitcase covered with travel stickers of world-music styles: mournful piano ballads, African drums, Middle Eastern textures, a banjo tossed into the mix here and there, layers of strings and violins. But I did find out that the guiding vision, the stunning voice, and the intricate songs all came from front woman Erin Zindle.
More than just another pop-folk singer with a nice voice, Zindle somewhat recalls Natalie Merchant, but with a bit more power and a greater willingness to take risks. She'll grab notes and push the music over the line by bending the pitch or soaring off the edge with surprising little twists, her voice moving like a violin. If you listen closely, it's apparent Zindle is doing something rare and unique as a singer.