Tara Jane O’Neil Issue #29

In Circles (Quarterstick)

By Anna Breshears
Published: September 1st, 2006 | 12:00am

As a crucial figure in the Louisville, Kentucky indie scene in the ’90s, Tara Jane O’Neil has been making music for 15 years in much revered bands like Rodan, Retsin, and Sonora Pine. She’s since relocated to Portland, Oregon, leaving behind the churning math rock of her early career for subtle, moody songwriting.

In Circles, O’Neil’s fourth solo album, is steeped in the rain and fog of the Pacific Northwest. Recorded in empty wooden houses around Portland, the record’s unadorned, melancholy spirit is reflective of spaces inhabited by the past. The songs on In Circles are straightforward and beautiful without pretense or overindulgence — they’re equally divided between wordless tracks and folky narratives. But because O’Neil uses her voice for sonic effect, rather than as a focal point, the majority of tracks seem purely instrumental. One notable exception is “The Sparrow,” a pretty romp with double-tracked vocals that pulses with tender warmth. Compositions like “Primer” and “Need No Pony” sleepwalk through evening shadows, while songs like “Fundamental Tom” sound haunted and restless. “This Beats” ends the album in a light swirling haze, accompanied by a thumping heartbeat and spare guitar.

O’Neil’s evolution from the angular time changes of Rodan to the rootsy, bare acoustics of her solo material is a welcome one. This painter-composer remains one of the most talented and relevant women in independent rock.