Jenn Lindsay | Allora Eccola

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Allora Eccola

by Jenn Lindsay

The tenth album from a Californian singer/songwriter on her way to Rome. It is a moving sale, a spring cleaning, and a sonorous decree that you can take the artist out of the music scene but you can’t take the music out of the artist.
Genre: Folk: like Joni
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  Song Share Time Download
1. You're Like You
2:26 $0.99
2. If You Know What I Mean
2:51 $0.99
3. Work in Progress
3:44 $0.99
4. The Bird
2:52 $0.99
5. Tilia Tree
6:02 $0.99
6. Leaving Lazarus
3:14 $0.99
7. On the Painting
5:06 $0.99
8. The More
3:12 $0.99
9. Eleanor Letitia Maguire
3:16 $0.99
10. Use the Light
2:35 $0.99
Downloads are available as MP3-320 files.


Album Notes
"One of the Best Folk CDs of all time" -- Derek Sivers, CD Baby

"Deliciously earnest...battle hymns for the downtrodden" -- Entertainment Today

"Jenn Lindsay has her finger right on the pulse of the whole wide world of working people everywhere" -- Smother

"acoustic guitar injected with punk ethics and politically charged songwriting" -- San Diego Union-Tribune

ALLORA ECCOLA is the tenth studio album from the urban singer/songwriter Jenn Lindsay. Here is the story.


Over the 14 years since I started writing music and releasing albums, sometimes it feels like it is all going into a black hole, and it is really cool to know it sometimes has a chance to reach appreciative human ears.

The music on this album was born a black hole, compared to everything else in my oeuvre that was written to be recorded, performed, and listened to. It's a much more private, inward project. My last album, "Prospect Hearts," came out in June 2011 as I was leaving NYC after ten years (to the day!) of living there and trying to be a professional musician—playing shows, working stupid jobs to support the next album release or tour, racking my brain to discover the magical connection that seemed to launch many of my friends (Regina Spektor, Nellie McKay, Kimya Dawson) into the stratosphere, into the elusive music career. I never seemed to find it, and my endless years of plotting began to weigh down the rewards of that one-hour set or the joyful process of recording. So I finished what I thought might be my last album, applied to PhD programs, and moved to Boston to embark on something that was at least a little more in the box than being a starving artist in NYC.

Of course, you can take the artist out of the music scene but you can’t take the music out of the artist. I kept writing, but writing very privately, writing songs that were never intended to be recorded or performed, songs that were almost too complicated to play, little soundscapes I could get lost in. Rather than cathartically purging my pain or crying out my political indignations, I crafted little worlds I wanted to live inside of, that housed me in the midst of all the complicated transitions I was undergoing.

In the next three years I trundled along at Boston University studying the anthropology of religion—which, if you think about it, isn’t too different from playing on the independent music scene. I’m still engaging with the stories, hopes, and obsessions of small communities of people who cluster around what they see as Truth, and devote themselves to what they think makes life make more sense, feel less painful, and seem worth living. I chose for my dissertation fieldwork to immerse myself in a small interfaith organization in Rome, a community that publishes a monthly magazine on religion and culture, and also generates a lot of cool art and music as part of their ongoing conversation. Pretty soon I’ll be moving to Rome and making art with them for a year, and then trying to cobble together a PhD dissertation that looks like real scholarship. More than anything I’ve found a way to marry a real job-type-job, as my father calls it a J-O-B, with my need to make art and be around art and ideals and creative processes.

In preparation for my relocation to Italy I recorded the ten songs I wrote in the three years since I moved to Boston. I recorded them all alone in my study where I also write boring, bloodless papers about Karl Marx and Emile Durkheim, and prepare lesson plans on Taoism and the history of Western Anti-semitism. I like doing that stuff too, but I found out while recording this album that if I am not making art I get seriously out of whack. Making this album was my rejuvenation and re-humanization project, after too long immersed in the disappointing world of academia. I haven’t played a show in a very, very long time. For so long this was such a fundamental part of me that I feel, in both music and academic worlds, that I am having an out-of-body experience. I understand now that it is my mission to integrate these two parts of my life, the artistic and the scholarly, the transcendent and the worldly. That process is Allora Eccola—my attempt at being a whole person.

A few words about the title, Allora Eccola. I am not a native Italian speaker but I have always loved the country and the language very much. There are many words that I think sound so incredibly beautiful regardless of their meaning. Some of my favorite Italian words are: abbigliamento (clothing), migliorando (improving), spazzatura (trash), gioielleria (jewelry store), reggiseno (bra), and pipistrello (bat). But my absolute two most favorite Italian words are allora (well…) and eccola (here she is!). I always tell my sweetie, who is Italian, that we have to name our kids Allora and Eccola. I really would if I could. But obviously every single Italian person in the world would be very confused about why our kids are named Well... and Here She Is! So it occurred to me that these lovely word-sounds would make a perfect album name: not only can I use my two favorite Italian words, but it is my tenth album, a very symbolic album to leave the country with, and it is also a way of saying "I am still making music" and "here I come to Italy!" And, in a very plain and yet dramatic way, I am asserting my existence! On the planet, in the States, in Italy, as a musician, as me, etc. The title Allora Eccola feels very existentially assertive to me. The music on the album itself is both very plain and very dramatic, a strange combination, so...the phrase just seemed so perfect. Well…here she is!

So, that is the scoop on the album. I hope you get something out of it. That would really please me.

Jenn Lindsay


Here is the more official schpiel:

Jenn Lindsay writes textured, expressive, stripped-down acoustic music with lyrics about daily experiences. She was named by GO NYC Magazine as “an artist carrying the torch for music into the 21st Century,” alongside powerhouse band Sleater-Kinney. She has a degree in playwriting from Stanford University and recently dropped out of the Yale School of Drama. Her music is “a powerful call-to-arms for struggling urban artists everywhere” (Suite 101) and she’s “a talent to be reckoned with” (Splendid). Her music is featured on MTV and on compilation albums put out by the ACLU and SBS Records.

Jenn Lindsay’s sixth and seventh studio albums, Uphill Both Ways and Perfect Handful, were both financed entirely by her fans. Uphill Both Ways is a declaration of independence, a love letter, a primal scream, and a homecoming announcement (back to music and back to NYC). It’s a pageant of change, growing up, grief, and the little things that get us out of bed in the morning. Jenn Lindsay works indie all the way, recording out of a tiny apartment in Manhattan where the drum kit rests on a bedspread, the microphone pop filter is a sock stretched over a coat hanger, and percussion sounds include apples and a pen dragged over the wire of a spiral notebook. To keep costs down on her albums Uphill Both Ways and Perfect Handful, Jenn Lindsay learned to play as many instruments as she could: the guitar, piano, banjo, baritone ukulele, mandolin, drums, keyboard, xylophone and harmonica. The most difficult (no joke) was the tambourine.

Jenn’s fifth album, The Last New York Horn, was released by Waterbug Records in Chicago. She’s the most popular singer/songwriter you’ve never heard of, with rabid followings in Indianapolis, Amarillo TX, and Santa Cruz. “Something good has to come out of the current economic downturn, right? Well, here’s one: anti-folk singer-songwriter Jenn Lindsay.” (Village Voice)

A 2003 Boston Globe editor\'s pick, Jenn started gigging at age 19 while in the acting program at the Liverpool Institute of Performing Arts, playing in British pubs where patrons ate fish sandwiches. She graduated to New York City, where initially, patrons stared into their beers, but after three years voted her the “best female singer-songwriter in NYC” (Radio Crystal Blue). Since Jenn started touring nationally, she has played her songs in exchange for free catfish in Alabama, sang to a room full of friendly cowgirls in Amarillo Texas, entertained in Vegas, and played encores to Ladyfest attendees in Memphis, Brooklyn, Santa Cruz and Ottawa. In addition to appearing at universities and coffee shops, Jenn has played LadyFests, BMI Showcases, the New York Songwriter’s Circle, political rallies at Rockefeller Center, and lots of screwball dives around the country.

In NYC, Jenn\'s musical community is the Antifolk scene, a hub of musicians based in the East Village\'s Sidewalk Cafe, who share a mutual distaste for mediocre, well-packaged mainstream music. Lindsay promotes her albums by opening for national acts Melissa Ferrick, Chris Barron (The Spin Doctors), Erin McKeown, Toshi Reagon, Girlyman, Bitch and Animal and Alix Olson at venues in the Northeast and in Canada. Her music, \"delicate and tough...stark urban imagery\" (San Diego Union-Tribune), showcases \"a talent well-versed in the field of social protest music” (Stanford Daily). remarks, “Jenn Lindsay has her finger right on the pulse of the whole wide world of working people everywhere.” That’s probably due to the string of frustrating day jobs and subway-platform performances that supported her when she was not actively gigging. Even though Rambles Magazine believes that “If some of her songs were given the exposure that they deserve, New York would be one receptionist short but the folk world would be one star richer,” the impoverished struggle of being a solo artist in NYC sent Jenn out onto the road, booking her own shows, leading college workshops, and forming traveling collectives with other emerging artists.

There’s hope yet for Jenn to break through the throng. That’s because, according to, "She’s a DIY Renegade. Folks like Jenn Lindsay provide reason to listen to every indie disc that comes in the mail."



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