Elisa Peimer’s voice is a compelling instrument. Although it’s hard to tell from a studio recording just how powerful a singer’s voice is, one thing is certain: Peimer’s voice conveys enormous emotional presence.
She has a knack for writing dramatic songs that could serve as a soundtrack to a movie or a score for a broadway musical.
Case in point, the chorus for “It’s Alright,” track 6 on Inside the Glass: It’s alright, I’m alright / Hoping I can find the answers / I’m trying, I’m lying / Right beside the one to set me free. We don’t know the specifics of the unsettling mysteries within the relationship in the song, but Peimer’s vocal convinces us that she’s shaken by doubt, but determined to see the dilemma through.
Likewise, in “Daffodils,” while the lyrics might seem mundane, her performance gives me plenty of reason to relate to her point of view: When the winter wind is blowing again / And the arctic air is keeping me in / I have faith that spring is around the bend / And the daffodils will appear again / And the daffodils will appear in the new year.
In “Bobby Hollywood,” we get a strong taste of her powers of observation and attention to detail: I was buying Brooklyn pickles / Made by a hipster out in Queens / Surrounded by my neighbors / In their hundred dollar jeans / But the man that caught my eye / Was the one who didn’t care / About the cooking demonstration / Cause Bobby Hollywood died right there.
The album’s climax, “This Life,” has all the trappings of a rock anthem. Peimer’s vocal soars as she sings: But this life / Will never come again / So why do I pretend / That that’s OK / One chance / Is all we’re gonna get / So why do I forget / And lose my way.
She convinces us that she’s a force to be taken seriously.