There is always a hint of menace and reservoirs of force haunting thecorners of Eliza Rickmans voice, whatever register it occupies. Herpresence on stagewhether she wears flowers in her hair, or stuffedbirds; whether she plays a toy piano or a grand pianois an enveloping,soft darkness, impossible to ignore. It is quite a surprise that Rickmandidnt even realize she could sing until after she earned a degree inorchestration from Azusa Pacific University, because her voice is themost enthralling and salient feature of any on the tracks from her newalbum 'O, You Sinners'. And this is saying something, considering herdeftness as a pianist and her subtlety as a composer. Like Kate Bush'swork, or like PJ Harveys album White Chalk, the arrangements on O, YouSinners are edged with dissonance. Like Andrew Bird, she favorspizzicato strings over junkyard percussion and complex lyrical melodies.Indeed, Rickmans co-producer Mark Greenberg is a frequent contributorto Birds albums (as well as to Wilcos 'The Whole Love' and to theGrammy Award-winning Mavis Stapless album 'You Are Not Alone').Religious themes pervade Rickmans workher album is, after all, titled'O, You Sinners'. She is the daughter of a pastor, and started playingpiano in church at the age of 13. But like one of her great influences-Nick Cave- her writing belies ambivalence about religion. Good and evil;love, both Gods love and carnal love; sinners and saints; desire andrepentance, all find a place in Rickmans songs. They lurk behind thescrim- whatever stage she sets. The coin of her realm is stamped withthe will of God, and whether you are a doubter or a believer you mustdeal in her currency if you want her to ferry you ashore. O, yousinners she sings, hear me. And how could we not listen?