
Seltmann's gorgeous, mountain-moving voice is, of course, the main attraction - but it is certainly not the only attraction. What sets New Buffalo's debut apart, and makes it the kind of record I can easily get obsessed with is this subtle experimentation. Such experiments are never a distraction - simply a boost. Her lyrics soundtrack a bleak winter day in a time gone by, while lyrical references to detectives and film directors recall the days of classic cinema. The use of soft, 1940's horns on "On Sunday" make the song sound as if it could be coming out Blonde Venus starring Marlena Dietrich, and the Seltmann couple sound as though their soundtracking a never-written film noir. Elsewhere, on "I've Got You and You've Got Me" [MP3], Seltmann's love song is supplemented with bell loops simultaneously played backwards and forwards over a repeated horn sample soon joined by the same piano keys being gently hit. The simple rhythm doesn't change even as it hits the life-affirming chorus. This is the sound of classic love - the kind of classic love that doesn't seem to exist now, and maybe never before. But we've seen it in films like Casablanca that make one feel as though its possible if they keep searching for it.
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"I've Got You and You've Got Me"
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