“Liz Tormes is an artist who makes it all sound so simple – her seemingly effortless vocals glide across graceful melodies, drawing you into her darkly beautiful songs. If Aimee Mann and Neko Case had a little sister who was politely clamoring for the spotlight, Tormes is what you’d hear. Don’t miss her first effort, Limelight.
Liz Tormes’s self-released record, Limelight, reveals a voice as sweet as you’ll find this side of Nashville, where Tormes grew up hanging around Johnny Cash and Bill Monroe. Not surprisingly, she’s got a penchant for the dark, watercolor country sound recently popularized by Neko Case.
“Singer-songwriter and Lower East Side resident Tormes ranks among the very best, she’ll knock you out at first listen and continue to grow on you. Don’t fight it.”
“She’s just so genuine and honestly different, it’s a beautiful thing to behold….and hear, whether it’s solo, duo or with a full band, she always delivers the goods.”
“Limelight, the debut recording of New Yorker-by-way-of-Nashville Liz Tormes, bridges the world of roots with the haunting, reverberating chill of dream-pop. Tormes has a deft approach in her vocal that conveys innocence, with just a touch of lurking menace...The mix of silk and danger is perfectly suited to her songwriting, and this self-produced, self- released disc speaks of talent on the other side of the mixing board as well. Tormes is certainly one to watch.”
Long admired by New York’s songwriting elite, Liz Tormes has a new album, Limelight, that should help the rest of the world get to know what the Lower East Side has known for years. Intense, brooding, sultry and frequently wrathful, the power in Tormes’ casually wary voice resides in ellipses, the spaces between notes, the unsaid and conspicuous absences
Strains of Britpop, garage rock and country slyly slink through Tormes’ sparse, gothic-leaning debut. The NYC-by-way-of-Nashville singer-songwriter possesses a gorgeous, soulful voice that at times recalls Margo Timmins, with a little more sugar and less smoke.
Liz Tormes’ Limelight is a hauntingly sweet album that evokes early-‘90s Mazzy Star at times, but clearly with more Americana roots intentions. This is particularly evident in the gorgeous title track. The New Yorker (by way of Nashville) also takes a more straight-ahead pop approach on “Don’t Love Back,” which bounces along, the only undertow provided by the naturally sad edges in Tormes’ voice. But it’s where darkness and beauty collide that Tormes finds her best moments, such as on the album highlight “Read My Mind”.