HARPOON

While the journey of 1000 - insert your preferred measure of distance - begins with a single step, at least if you're walking, it's often those first steps that pile on the bunions, plantar fasciitis, and sundry aches migrating up the impacted appendages. We sometimes witness similar in developing artists, and the early works of LARKIN GRIMM loosely approximate this tendency on the few fitful lines of a budding bell curve.

If her dreadful debut is thankfully underexposed, the far better known "Harpoon" does mark her tentative steps towards a more coherent and, yes, listenable, model. It's still beyond strident in parts and, as if her voice doesn't go to those teetering and bat-infested eaves often enough, she has added equally shrill whistles to fill in the moments when she has to catch her breath, but hasn't figured out that things don't work that way. Still, for all its overly weird philosophy, "Harpoon" clearly emanates the soul of Appalachia at its core, epitomized by the rhythmic "Going Out" (which recalls the experimental SORNE), the playful "Pigeon Food", and the hypnotic and obsessive "One Hundred Men", while the sole epic "Future Friend" is better than most of what follows.

While understandably immature, "Harpoon" spearheads the evolution in Grimm's sound enough to motivate me forward.

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