Disjecta
116 Russell

When people first hear the name "The Blow," they'll most likely conjure up images of cocaine and/or fellatio. In these dark days of Vice magazine, it's no wonder, but it also shouldn't scare potential listeners of The Blow away.

The Blow is Khaela Maricich, whose voice is accompanied by a variety of sounds--from buzzing waves of noise to a full multi-piece band to mere handclaps. Each song receives exactly the amount of attention it deserves, and as a result, the songs are usually short and to the point. With current indie rock tendency towards lush, professional sounding arrangements, it's refreshing to hear such under-produced pop music.

The Blow's music is kind of like when you're driving home, or making the bed, or doing dishes and singing to yourself. Not necessarily about the task at hand, just about things you've seen or are thinking about. It's as if Maricich remembered all of those songs she made up during the day, then added instrumentation that doesn't detract from the spontaneity of her singing. The results are friendly, simple songs that manage to make you feel like you actually weren't crazy all those times you sang to yourself.

Her live performances benefit from the same attitude. Singing what she wants to, she sometimes seems unsure of what's coming next. She converses with the crowd (and to herself), giving almost cryptic descriptions of what her songs mean. Although it may seem as though she's putting on the act of an eccentric, intentionally weird musician/artist, more likely than not she's just approaching the live show the same way she approaches songwriting.

This is what makes her such a gem: Maricich isn't interested in how you think songs should be written, how concerts should be played, or what "The Blow" should mean. She doesn't think she's smarter than you, and doesn't have any monumental wisdom to hand down. She's just performing her music and doing what she wants.