From last week’s full review, “Those nutty over ‘80s NYC noise-rock and its attendant loose categorization New Music have likely heard Karen Haglof, for she was a player in the guitar ensemble of Rhys Chatham and a member of the undersung Band of Susans. Haglof eventually redirected her energies into the medical profession as a hematologist/oncologist in affiliation with New York University Hospital, but of late she’s scratched a reignited creative itch and produced her debut solo effort, the very appealing blend of bluesy Americana and big city guitar pop Western Holiday.
Prior to moving to New York City Karen Haglof was a resident of Minneapolis and in fact that’s where she began playing music. Subsequent to a trip east she strapped on the six-string under the name Karen Indiana in the trio the Crackers with fellow Minneapolitans Jay Peck, later of the Figures and Let’s Active, and Steve Almaas, previously of the terrific Suicide Commandos (‘78’s Make a Record is a punk classic) and thereafter of Beat Rodeo.
By ’83 Haglof was in cahoots with Rhys Chatham, appearing on the composer’s Factor X, a now scarce LP issued by the German Moers Music label. Roughly three years later she was part of the side-long title composition on Chatham’s brilliant Die Donnergötter. Amongst her cohorts on the track was Robert Poss; together with future Helmet honcho Page Hamilton and drummer Ron Spitzer, Haglof comprised the second lineup of Poss and Susan Stenger’s Band of Susans, her axe a component on their strongest release, 89’s Love Agenda.
After working on a few tunes she sent the progress to her old Crackers’ partner Almaas, who lent not only his encouragement but also some lyrics. Haglof then completed 12 selections and Almaas signed on as the bassist for what became Western Holiday, a disc at first surprising in its melodic straightforwardness and accessible construction.
The title cut opens the proceedings with prominent blues-tinged slide, though her approach isn’t overbearing, Haglof seemingly disinterested in driving home any specious grittiness. Instead, her work on the strings combines with strong, unaffected vocals; when “Western Holiday” does kick into high gear mid-way through, the result is natural and unstrained.”
—Joseph Neff
