ART OF SONG
Katy Pfaffl
“Two Apples”
If I Rise
2007 | Self-released

Contemporary love songs tend to register as either fun and saccharine or earnest and wistful. Serious musicians often opt for the latter combination, in an effort to eschew the deadening former, when crafting songs regarding this most universal of all topics. Otherwise, they risk accidentally delving into formulaic approaches that regurgitate trite lyrical and compositional standbys. Heavily pop-influenced tunes, in particular, tend to fall prey to this dilemma. But where are the new, straightforward love songs like those of the past? Those that remark on romance with both good favor and elegance?

Katy Pfaffl’s “Two Apples” fortunately manages to retain its integrity while being an unabashed, gentle-natured ode to affection. Both the melody and Pffafl’s voice imbue the song with a caramel quality, a smooth richness similar to Roberta Flack’s best. It also highlights the great creative range of Pfaffl. Guitar and voice float along together, with a beauty that begets repeated listening. For a much-needed alternative from the usual callow or morose, check it out.

by Alicia Dreilinger

www.myspace.com/katypfaffl

Katy Pfaffl performing “Two Apples” for fans on Valentine’s Day:

LOCAL SPOTLIGHT NYC

The New York City singer-songwriter scene certainly does not suffer from any lack of talent. But inimitable exceptionality surfaces from the very few. Katy Pfaffl, an equally accomplished vocalist, pianist, violinist, and guitarist, is indisputably one of these rare greats. A consummate musician’s musician, she synchronizes with masterful integrity her angelic yet gutsy voice with lush lyrics and instrumentation, composing songs bestowed with an ardent elegance evocative of Joni Mitchell, Jeff Buckley, and Carole King.

Like Mitchell especially, not only Pfaffl’s sound, but the evolution of her craft as a whole possesses a sculptural aspect. Each facet investigated, whether as particular as the arrangement of the string section in a certain song, or as sweeping as the decision to consistently include string sections in her music, at all, builds upon what has already been expertly, and dotingly, chiseled. The resulting presence both towers and accompanies, commands and invites; true art at its finest.
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