Skullcrusher finds her darkness on 'Quiet the Room.' Read violet_by_hole's review:
first burst onto the scene one spring day in 2020, the irony inherent in the project name was apparent, and immediately moved on from. Helen Ballentine, the Los Angeles singer/songwriter behind the name, makes music with an underlying softness that belies the moniker’s assumed harshness. First impressions also set Skullcrusher up for a slew of comparisons to 2020’s other macabre blond, Phoebe Bridgers.
It’s remarkable how much the musicians involved, who include Ballentine and Odetta Hartman, Camellia Hartman and Runnner’s Noah Weinman, can do with such a small pool of instruments. Most of the songs involve only a combination of acoustic guitar, piano and violin, but the arrangements here are intricately detailed; this is an album one can fall into, and never run out of things to interrogate. This is even true for the stoic and sparse “Lullaby in February.
A common challenge to Skullcrusher’s music is that because it is so vast, Ballentine herself can hide within it. Her voice is an undeniably powerful instrument, but often its strength overpowers the words she sings, however intricate they may be. Ballentine, on a song like “Sticker,” for instance, sounds melded to the guitar, bathed together in a wash of reverb.
The opener, “They Quiet the Room,” is a slow, patient ballad laden with acoustic guitar and atmospheric vocal affectation. Ballentine sounds like an outsized figure, an omniscient voice echoing through a large, open space. Crystalline piano keys and a pair of violins create a disquieting, stormy outro. The true title track, though, is the penultimate one. Written first, it has identical lyrics, but she built this on the haunting structure of piano, rather than guitar.
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