The Laments of Amy Millan

The Laments of<b> Amy Millan</b>
Time can mend a broken heart, but clearly Amy Millan didn’t get the memo. Her solo debut, Honey From the Tombs, is awash in whiskey-soaked heartbreak, even though the country and folk-influenced songs were written over the past several years. The album wasn’t delayed due to any lingering romantic misadventures, but rather due to the indie scene siren’s steady ascent in the Stars and Broken Social Scene’s constellation.

"It feels like it’s been an incredibly long journey,” Millan says. "It took me a really long time to give the songs what they needed. I didn’t have the luxury of time, because I was on the road. It was going to come out a year ago, but I listened to it and thought, ‘This needs much more care.’ I had to go back in and do little magic cuddles to it in order to make me feel that it wasn’t just thrown together.”

Produced by Ian Blurton, better known for bringing the noise than tuning the twang, Honey oozes with a low-key, acoustic warmth that contrasts sharply with Stars’ dramatic electro-pop bombast.

"I call it ‘toxic roots’,” she offers. "People that would never have listened to my record before now will because I’ve done work in other bands. But the challenging part will be once they hear it: ‘Why the hell is she talking about whiskey so much? I want some references about revolution!’” she laughs.

Millan may not be worried about a potential backlash from perplexed indie kids, but moving from the embrace of a collective to standing onstage all by her lonesome does have her a bit unnerved. "There are always butterflies on your firsts; I’m going to try to not take valium and actually embrace that feeling.”