On the cover of Torres' (a.k.a. Mackenzie Scott) 2013 self-titled LP, the Brooklyn-via-Nashville musician holds an innocuous look while a pair of lips kisses her cheek. On Sprinter, Scott trades in vulnerability for a more ominous visage, perfectly representing the young musician's new transformation. After garnering countless comparisons to PJ Harvey on her debut, Torres decided to embrace the legend's sound, recruiting Harvey's regular collaborator, Rob Ellis, to co-produce.
As expected, Sprinter is brasher and more confident than her earlier work, as Scott's husky growl breaks through squelching guitars on "New Skin," while throwing accusations around on "Ferris Wheel." At every turn, Scott fills Sprinter with left turns, as skeletal drums and moaning melodies trade regular verse-chorus-verse structures in for something more loose, visceral and amorphous. Although Sprinter is a singular vision, it won't help rid her of the PJ Harvey comparisons, proving Torres to be musician unafraid of comparison, but even less afraid of compromise.
(Arts & Crafts)As expected, Sprinter is brasher and more confident than her earlier work, as Scott's husky growl breaks through squelching guitars on "New Skin," while throwing accusations around on "Ferris Wheel." At every turn, Scott fills Sprinter with left turns, as skeletal drums and moaning melodies trade regular verse-chorus-verse structures in for something more loose, visceral and amorphous. Although Sprinter is a singular vision, it won't help rid her of the PJ Harvey comparisons, proving Torres to be musician unafraid of comparison, but even less afraid of compromise.
