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“Like a 21st century Yeats she transforms our species’ dilemmas, follies, and misery into cathartic beauty. In this time of relentless ugliness, we need Mia Doi Todd.” --Michael Simmons, LA Weekly
“The future folk of Mia Doi Todd: Call it quiet fire. Authority. Charisma. Mia Doi Todd’s coolly tranquil voice caresses the air, but her trenchant gaze holds you, riveted. She descends to earth again, still piercing your eyes, and drops poetry of hunger and need, the food of love. You don’t recoil; you’re on the edge of your seat. You feel like a slave. And not so strangely, it feels good.” --John Payne, LA Weekly
“Todd has a curious voice that grows warmer with each listen: slightly glassy, almost plummy, precise--folky, perhaps. Sometimes just unfussy guitar and voice, sometimes with the subtlest of backings, she threads together exquisite meditations on loss, sex, death and metaphysics than can be devastating in their immediacy or rich and strange. Actually, if there’s an echo here at all, it’s of Sylvia Plath’s late poems: fraught, frank, possessed of a shocking beauty and entirely remarkable.” --David Peschek, Mojo
“Todd’s fractured, oblong folk makes her worthy company for past L.A.-centric enigmas like Tim Buckley and Joni Mitchell...The secret seems to lie in Todd’s sublime voice and penetrating poetry, which remain powerful enough to seduce the more reluctant listener.” --Magnet
“Imagine Joni Mitchell if she’d made ‘Miles’ after ‘Mingus’.” --Spin
“Sorrow, longing and apocalyptic musings on politics triangulate Mia Doi Todd’s songs on Manzanita. As both singer and songwriter, Ms. Todd is resolutely sober-minded. There is nothing but earnestness and obsession in her songs, which risk both cliches and awkwardness as they reach for honesty...but hold back the cynicism and the music becomes haunting.” --Jon Pareles, New York Times
“Everything came together for Silver Lake singer-songwriter Todd on her new album, Manzanita, from the shimmering folk-rock arrangements to the confident ease with which she sings -- without diminishing the individual approach that marked her four previous albums. Such songs as the soaring chamber-pop delight “The Last Night of Winter” could pass as “lost” classics from the late 60’s or early 70’s. Her stunning yet restrained vocal power and the poetic intensity of her songs would come through in any era or any setting, though, and in concert she can be transfixing.” --Steve Hochman, LA Times
“Mia Doi Todd is one of those artists that seem to function not just as creators in their own rite, but as connecting links between other musicians. Through collaborations, she brings together the psychedelic electro of Nobody, the lysergic country pop of Beachwood Sparks survivors, the raga-rock textures of Shankar and the sophisticated jass phrasings of Joni Mitchell. As good as La Ninja is on its own terms, it may be even more important in the way it reinforces the ties between disparate musicians within her orbit. She’s the center of one of the more interesting pop electronic scenes around these days - and this album demonstrates, through the strength of her songs and her willingness to let them out into the world, why this should be.” --Jennifer Kelly, Dusted Magazine
“Like a 21st century Yeats she transforms our species’ dilemmas, follies, and misery into cathartic beauty. In this time of relentless ugliness, we need Mia Doi Todd.” --Michael Simmons, LA Weekly
“The future folk of Mia Doi Todd: Call it quiet fire. Authority. Charisma. Mia Doi Todd’s coolly tranquil voice caresses the air, but her trenchant gaze holds you, riveted. She descends to earth again, still piercing your eyes, and drops poetry of hunger and need, the food of love. You don’t recoil; you’re on the edge of your seat. You feel like a slave. And not so strangely, it feels good.” --John Payne, LA Weekly
“Todd has a curious voice that grows warmer with each listen: slightly glassy, almost plummy, precise--folky, perhaps. Sometimes just unfussy guitar and voice, sometimes with the subtlest of backings, she threads together exquisite meditations on loss, sex, death and metaphysics than can be devastating in their immediacy or rich and strange. Actually, if there’s an echo here at all, it’s of Sylvia Plath’s late poems: fraught, frank, possessed of a shocking beauty and entirely remarkable.” --David Peschek, Mojo
“Todd’s fractured, oblong folk makes her worthy company for past L.A.-centric enigmas like Tim Buckley and Joni Mitchell...The secret seems to lie in Todd’s sublime voice and penetrating poetry, which remain powerful enough to seduce the more reluctant listener.” --Magnet
“Imagine Joni Mitchell if she’d made ‘Miles’ after ‘Mingus’.” --Spin
“Sorrow, longing and apocalyptic musings on politics triangulate Mia Doi Todd’s songs on Manzanita. As both singer and songwriter, Ms. Todd is resolutely sober-minded. There is nothing but earnestness and obsession in her songs, which risk both cliches and awkwardness as they reach for honesty...but hold back the cynicism and the music becomes haunting.” --Jon Pareles, New York Times
“Everything came together for Silver Lake singer-songwriter Todd on her new album, Manzanita, from the shimmering folk-rock arrangements to the confident ease with which she sings -- without diminishing the individual approach that marked her four previous albums. Such songs as the soaring chamber-pop delight “The Last Night of Winter” could pass as “lost” classics from the late 60’s or early 70’s. Her stunning yet restrained vocal power and the poetic intensity of her songs would come through in any era or any setting, though, and in concert she can be transfixing.” --Steve Hochman, LA Times
“Mia Doi Todd is one of those artists that seem to function not just as creators in their own rite, but as connecting links between other musicians. Through collaborations, she brings together the psychedelic electro of Nobody, the lysergic country pop of Beachwood Sparks survivors, the raga-rock textures of Shankar and the sophisticated jass phrasings of Joni Mitchell. As good as La Ninja is on its own terms, it may be even more important in the way it reinforces the ties between disparate musicians within her orbit. She’s the center of one of the more interesting pop electronic scenes around these days - and this album demonstrates, through the strength of her songs and her willingness to let them out into the world, why this should be.” --Jennifer Kelly, Dusted Magazine