![]() ![]() The instrumentation feels considered and understated, drawing focus to Williamson's resonant voice. There's a sense of spaciousness on the record, afforded by Williamson's newfound perspective and production courtesy of Brad Cook (who also worked with Williamson on the record she and Waxahatchee's Katie Crutchfield released as Plains). "You've been chasing spirits / and I'm still chasing them lights," she sings on "Chasing Spirits," before dropping a pointed rhetorical question: "Now who is a bigger mystic / and who's winning a bar fight?" And while her portrayals of sorrow are brutal, her subtle scorn burns even brighter - the work of a woman who knows that a classic Texan "bless your heart" will cut an enemy deeper than rage ever could. On songs like "Tobacco Two Step" or "God in Everything," there's a forceful, raw earnestness in the way she sings. ![]() In the chorus of "Hunter," you can hear that breathy quality in Williamson's voice - but it's double-tracked with a more natural, conversational delivery that makes her sound self-assured, unshakeable. ![]() "In the past I tried to make myself seem like I wasn't trying too hard," she told The Guardian - she figured that being too bold in her music would be "grating," that her voice needed to "be sexy or breathy." Listening to Time Ain't Accidental, it's clear she's put that belief behind her. Williamson also depicts the ways she would diminish herself in that previous relationship: "How I did accommodate and get so small," she recalls on "A Few Seasons." She's said in interviews, too, that she felt that pressure in the way she made her music. ![]()
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