ELIZABETH DEVLIN

Copyright Elizabeth Devlin. All Rights Reserved. 


Devlin's sophomore full-length album, For Whom the Angels Named, was released in Fall of 2011, eight months after the 7" Vinyl Ladybug EP, in winter of 2011. 


Recorded live March 19th 2011, beneath the largest full moon seen in 18 years, Devlin returned to her live, solo singer/songwriter and acoustic roots to track eight songs at FLUX Studio NYC with good friend, Sound Engineer and Studio Manager, Daniel Sanint. Previously, Devlin worked with Sanint to record the Ladybug EP.


For Whom The Angels Named , a quote taken from Edgar Allen Poe's poem The Raven, was a nod to Devlin's Mexican, biological grandmother, Lenore Malo, who died the same year Devlin's father was born.


"Ah, distinctly I remember it was in the bleak December,
And each separate dying ember wrought its ghost upon the floor.
Eagerly I wished the morrow; - vainly I had sought to borrow
From my books surcease of sorrow - sorrow for the lost Lenore -
For the rare and radiant maiden whom the angels name Lenore -
Nameless here for evermore."


The recording preserves the gentle purity, sensational nearness and impetuous tempo audiences had come to expect from Devlin's breathlessly intimate live performances.  Each of the eight songs on For Whom The Angels Named, paints the portrait and tells the story of an individual; each song title is a different name.


For Whom The Angels Named, a limited edition, signed, 100 copy 12" vinyl pressing was released during the Summer Antifolk Festival on Sept 22, 2011 at Sidewalk Cafe in LES, NYC and received a write-up in The New York Times: Artsbeat where journalist James C. McKinley Jr. wrote about the LES Antifolk music scene in which Devlin got her start.


"Some music scenes are too mischievous to die. For 18 years, an eclectic group of songwriters who label themselves part of the “antifolk movement” have been meeting at the Sidewalk Café in the East Village for one of the longest running open-mike nights in the city."


Mckinley went on to highlight Devlin's performance...


"On Thursday night, for instance, the headliner was Elizabeth Devlin, who sang her densely packed and surreal verses about the stew of being a woman over an autoharp, her little girl’s voice riding coyly over the weirdly discordant harmonies she traced with her hands. (She read Walt Whitman’s poetry between songs.) "


Subsequently, the album was reviewed by music blogger and Consequence of Sound founder, Alex Young, who said...


"It’s in the way Devlin sings in the same soft, fluttering voice, the way her songs wander without a traditional structure or even a chorus, and the way she paints abstract narratives with lyrics that feel more like poetry than song. That said, while the similarities are impossible to ignore, Devlin is her own artist and one that’s worthy of attention."


Currently, the vinyl and digital download are available for purchase through Devlin's Bandcamp.