REVIEW of An(n)a(h)log
by, Michelle Tea
“Annah Anti-Palindrome was so riveting that you didn’t want to leave. She was the kind of performer who is so personally open and who puts so much of herself into the music that it can be off-putting to people uncomfortable with such a level of disclosure from others. But Annah made it seem completely acceptable. You get the sense that there’s probably little difference between her onstage and off stage personality. Even when she talked about her personal politics, although it might have alienated a person or two, there was something engaging about Annah that made you kind of roll with whatever she presented. Her music, meanwhile, made excellent use of loops, and her ability to beat box was respectable, lending the music an interesting percussive quality.
Her songs about her mom, who, apparently, died of a drug overdose, were so crushingly poignant, you felt where she had been with those feelings in a cathartic way. Sampling a blood pressure gauge to create percussive textures and a whisk through an egg with whiskey later on, Annah created unique sounds that can never be completely replicated.
During her set, she passed out notes to the audience and asked us to write down a message to a part of our bodies and most people did. With those, she did a kind of ambient section of a song first and then read through each note. Annah closed the set performing with her friend Rowan — a cover of Adele’s “Rolling in the Deep,” hitting a reverse on the delay at the end in a playful ending gesture.”
Tumbler Reviews: theysoundlike.tumbler.com
“Annah Anti-Palindrome’s Music Sounds Like: skeletons wearing purple silk flowers around their clavicles and ribs playing hopscotch backwards…“
WRITE-UP in bay area’s ‘Shut Up Songwriters’
“…And while there are a handful of tracks contained on An(n)a(h)log which are “songs” of the sort you’d expect from a prototypical “songwriter” (“Stairwell” being the inarguable best of this variety), the majority of the material is an ineffable amalgamation of sound collage, performance art, and the avant-garde. Whether it’s the looped throat clearing and swallowing sounds that permeate tracks like “Esophagus Microphones” to haunting effect, or the eerie inclusion of a minor mode rendition of “London Bridge is Falling Down” to the recitation of the names of women incarcerated for murdering their abusive husbands, as in the case of “Manslaughter”, the more one listens, the clearer it becomes that music (or “sound”) operates more as the medium, rather than the purpose of Annah’s work…” (for more of this article, see link above)