Press
Reviews of 'I think I can see the ocean':
"Lachica's talent is all over the album, her effortless musicality however doesn't take away from the heart-tugging simplicity of the melodies... a powerful album in the tradition of cocteau twins and beach house." By Michael Kasparis--Rough Trade
"Artist to watch' --The Deli, NYC
"From the outset, a lullabye keyboard motif drifts through the smoky ether of Lachica's voice. The guitar and drums rumble in hushed tones before building and retreating like a wave. In the hands of other musicians, "Bewilder" might have sounded too calcuating, too exacting, but Lachica evokes just the right mélange of hushed brittleness and frost-bitten pathos. Her down-tempo, early-dawn soundscapes enrapture the heart and transport the mind." By Kyle Lemmon-- Under the Radar
"Baltimore, Maryland-born Elaine Lachica has got a voice to cry for! The Peabody Conservatory trained soprano bends, undulates, quivers, and extends notes and syllables across the 14 songs of her third long player I Think I Can See the Ocean. Her voice, both as a single instrument and as the main attraction, is as much a burden as it is a blessing. It challenges and obscures to the same extent that it soothes and transcends. Breathy at times, and somewhat reminiscent of the supremely talented Cassandra Wilson, Ms. Lachica’s voice begins a seven-song stretch, from the rumbling opener “Behind My Mind” to the melancholy orchestral “Wild Wielding”, that is urgent, diverse, and impressive. Ms. Lachica soars through much of the material, including the fabulously dissonant and clap-happy “Tumbleweed” along with the bubbling bassline and jangling strums of “Jinx the Line”." By Quentin Huff-- PopMatters
"To think of this music in terms of visual representation: The piano is the tumbleweed, the rest is either the breeze blowing it along, or the empty, wide-open scenery. Lachica’s voice is mannered but highly expressive, fluttering and contracting as the melody swirls around the contours of the chord structure. As much as this song has that quality of direct representation, it’s also an odd, abstracted thing. Listening, I feel like trying to trace its lines, follow them around to find the beginning and the end, but I get lost somewhere, or my attention shifts to some small detail that has me chasing that to its logical conclusion. The song is all a tangle, but it moves so gracefully." By Matthew Perpetua-- Fluxblog
"When New York-based classical soprano Elaine Lachica wears her singer/songwriter gown, she cuts a serpentine path between the dream-like shrouds of the Cocteau Twins and the jazzy, rhythmic delicacy of Stina Nordenstam. The Baltimore-born, Peabody-trained Lachica soars through the same sort of genre-less ether: On her third album, I Think I Can See the Ocean, Lachica steers her arresting, haunting voice into underground tunnels of nervous beauty and down-tempo meditations." By Bret McCabe -- Baltimore City Paper
Reviews of 'Apolune'
"Lachica is back with another impressive showcase of her vocal powers. 'Apolune' finds Lachica's singing voice in top form and as hauntingly beautiful as ever. It is hard not to fall under the spell of Lachica's alluring voice while listening to this album. Not one to stick to conventional song structures and patterns, Lachica has created songs that color the outer edges of life. The passionate calm of "Illumina" and the lovely prose of "Sublunary" carry this album." --Music Monthly
Reviews of '9'
"It's possible to hear strains of other chanteuses such as Tori Amos, Julee Cruise, et al throughout the nine tracks on this album. However, such comparisons scratch the surface, drawing more from Lachica's powerful and dramatic vocals. However, the heart and soul of Lachica's music draws from 4AD's glory days, when bands like The Cocteau Twins, Dead Can Dance, and This Mortal Coil dominated the ethereal landscape, releasing album after album of atmosphere, drama, and melancholia." www.opuszine.com
"Listening to the opening track of "Sirens" on Elaine Lachica's debut CD 9, I was distinctly reminded of a release that came out nearly 10 years ago. Mind you, that isn't a bad thing. "Sirens" is an ethereal, spooky track along the lines of the work that the group Miranda Sex Garden were doing in their heyday. Lachica subtle, re-verbed guitar and twinkling chimes, and the effect is eerie and rather lovely at the same time." -- www/almostcool.org
"Lachica's talent is all over the album, her effortless musicality however doesn't take away from the heart-tugging simplicity of the melodies... a powerful album in the tradition of cocteau twins and beach house." By Michael Kasparis--Rough Trade
"Artist to watch' --The Deli, NYC
"From the outset, a lullabye keyboard motif drifts through the smoky ether of Lachica's voice. The guitar and drums rumble in hushed tones before building and retreating like a wave. In the hands of other musicians, "Bewilder" might have sounded too calcuating, too exacting, but Lachica evokes just the right mélange of hushed brittleness and frost-bitten pathos. Her down-tempo, early-dawn soundscapes enrapture the heart and transport the mind." By Kyle Lemmon-- Under the Radar
"Baltimore, Maryland-born Elaine Lachica has got a voice to cry for! The Peabody Conservatory trained soprano bends, undulates, quivers, and extends notes and syllables across the 14 songs of her third long player I Think I Can See the Ocean. Her voice, both as a single instrument and as the main attraction, is as much a burden as it is a blessing. It challenges and obscures to the same extent that it soothes and transcends. Breathy at times, and somewhat reminiscent of the supremely talented Cassandra Wilson, Ms. Lachica’s voice begins a seven-song stretch, from the rumbling opener “Behind My Mind” to the melancholy orchestral “Wild Wielding”, that is urgent, diverse, and impressive. Ms. Lachica soars through much of the material, including the fabulously dissonant and clap-happy “Tumbleweed” along with the bubbling bassline and jangling strums of “Jinx the Line”." By Quentin Huff-- PopMatters
"To think of this music in terms of visual representation: The piano is the tumbleweed, the rest is either the breeze blowing it along, or the empty, wide-open scenery. Lachica’s voice is mannered but highly expressive, fluttering and contracting as the melody swirls around the contours of the chord structure. As much as this song has that quality of direct representation, it’s also an odd, abstracted thing. Listening, I feel like trying to trace its lines, follow them around to find the beginning and the end, but I get lost somewhere, or my attention shifts to some small detail that has me chasing that to its logical conclusion. The song is all a tangle, but it moves so gracefully." By Matthew Perpetua-- Fluxblog
"When New York-based classical soprano Elaine Lachica wears her singer/songwriter gown, she cuts a serpentine path between the dream-like shrouds of the Cocteau Twins and the jazzy, rhythmic delicacy of Stina Nordenstam. The Baltimore-born, Peabody-trained Lachica soars through the same sort of genre-less ether: On her third album, I Think I Can See the Ocean, Lachica steers her arresting, haunting voice into underground tunnels of nervous beauty and down-tempo meditations." By Bret McCabe -- Baltimore City Paper
Reviews of 'Apolune'
"Lachica is back with another impressive showcase of her vocal powers. 'Apolune' finds Lachica's singing voice in top form and as hauntingly beautiful as ever. It is hard not to fall under the spell of Lachica's alluring voice while listening to this album. Not one to stick to conventional song structures and patterns, Lachica has created songs that color the outer edges of life. The passionate calm of "Illumina" and the lovely prose of "Sublunary" carry this album." --Music Monthly
Reviews of '9'
"It's possible to hear strains of other chanteuses such as Tori Amos, Julee Cruise, et al throughout the nine tracks on this album. However, such comparisons scratch the surface, drawing more from Lachica's powerful and dramatic vocals. However, the heart and soul of Lachica's music draws from 4AD's glory days, when bands like The Cocteau Twins, Dead Can Dance, and This Mortal Coil dominated the ethereal landscape, releasing album after album of atmosphere, drama, and melancholia." www.opuszine.com
"Listening to the opening track of "Sirens" on Elaine Lachica's debut CD 9, I was distinctly reminded of a release that came out nearly 10 years ago. Mind you, that isn't a bad thing. "Sirens" is an ethereal, spooky track along the lines of the work that the group Miranda Sex Garden were doing in their heyday. Lachica subtle, re-verbed guitar and twinkling chimes, and the effect is eerie and rather lovely at the same time." -- www/almostcool.org
