In a throughly Canadian and robustly articulate release, Tanya Gallagher finds a resting place to air some grievances on her Virginia EP, a logical step in between what will no doubt find the songstress in a more consuming affair on record. Still, Virginia is a romantic interlude crossing some wholly romantic territory that can only be described as something of a micro victory in all accounts.
There’s a deceptively lo-fi beginning on the EP that leads into much more crisp production. It seems intentional given the depth that Gallagher breaches and the surgery of different styles she produces in the genre we have to typified into “female rock” (can’t it just be rock?) but it nonetheless makes a statement. Virginia is an evolution of styles and formats of popularity that translates into more than a statement on following the money – it’s following the rigamarole of acceptance commercially and culturally.
Still, Gallagher remains deeply personal despite whatever implied or exuberantly stated sentiments may linger on Virginia. There’s certainly nothing impersonal about it, and Gallagher takes one to some fairly cosmic levels of personal insight. “Monterey” comes off as an ode about an oughts romance long past, while “Fables and Fallacies” is less pragmatic than the title might come across. Thankfully, there’s no need for compliance with any off-colour restrictions of lust – that’s an outmoded way of barring female artists from veritable expression. Instead, Gallagher is perfectly clear and dimensional about her needs and wants. There’s not much more to ask for on a perfectly sublime EP.