Posts Tagged ‘Basin Rock Records’

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Jim Ghedi’s profoundly unique and moving In The Furrows Of Common Place. He really is one of the most arresting young voices around, breaking folk out of the traditional. Whilst Ghedi’s previous idiosyncratic take on folk has often been instrumental, exploring the natural world and his relationship to it through his music as seen on 2018’s A Hymn For Ancient Land. His new album In The Furrow Of Common Place is a deeper plunge inside himself to offer up more of his voice to accompany his profoundly unique and moving compositions.

The decision to include more of Ghedi’s vocals was a conscious one and driven by a need to say something. However, this isn’t a brash raging political polemic. As is now customary with Ghedi’s work, it is rich in nuance, history, poetry and allegory. Musically, the album is equally locked into this ongoing sense of evolution. Ghedi’s intricate yet deft guitar playing still twists and flows its way through the core, weaving in and out of gliding double bass, sweeping violin, gentle percussion and vocals that shift from tender solos to overlapping harmonies.

As with much of Ghedi’s work, there’s a rich connection between the past and the current. Musically, he continues to sit in a singular position of sounding distinctly contemporary yet also with a touch of traditional flair. This expands itself into the lyrical terrain here too.

For all the socio-political and historical backdrop to the record it is not one that feels overwhelmed by it. Much like Ghedi’s work when it was largely instrumental – and some of it still is here – it flows and unfurls thoughtfully, with space still being utilised masterfully, creating room to pause and reflect. It’s another inimitable record from an artist that truly sounds like nobody else right now.

The second album – first on Todmorden-based label Basin Rock Records – by the much-acclaimed New Zealand-based singer songwriter Nadia Reid fits the template mastered by the likes of classic singer songwriters Neil Young and Joni Mitchell light years ago perfectly; the level of naked yearning and blue feeling evident on tracks such as “Ain’t Got You” is pretty much off the scale.

“Preservation” is also a very, very good album, certainly strong and distinctive enough to rise far above the myriad clichés we have by now come to associate with songwriting as a confessional and a personal inventory.

Theme-wise, time spent away from home, lost opportunities and lingering regret mixed with resilience dominate. There are hidden depths here. Just when you’re lulled into expecting another slice of heartbreak shot through with hard-worn wisdom, a song (“Richard”) takes in someone pulling out their own teeth and filling a sink full of blood. Words whispered to a loved one turn out to be ”fuck you” rather than the sweet nothings you’d expect in the nearly-solo acoustic setting (“Reach My Destination”).
Same thing applies musically. Just when you’re lulled by the spectral dreaminess of “Te Aro”, the track dissolves into barbed ambient crackle. There are sparsely arranged band cuts – check out the gently soaring “The Arrow and The Aim” for evidence of how much power can be squeezed out of a few base elements .

However, this side of the album tends to shrink next to the near-solo material. It says a lot about Reid’s abilities as a writer and performer that the most skeletal tracks – the drowsy drift of the title track, the hushed “Hanson St Part 2 (A River)” – leave the strongest impression; Preservation hits the hardest when there are zero or very few added ingredients to divert attention from that voice, the melodies and the words.

Nadia Reid performs ‘Preservation’ live in the RNZ Auckland studios for NZ Live.

Nadia Reid performing “Call the Days” live on RNZ.

New York based singer-songwriter Julie Byrne has announced her sophomore album, “Not Even Happiness”, is set to be released on January 27th via UK-based label Basin Rock Records.

“The title of the album comes from a letter I wrote to a friend after a trip to Riis Park’s ‘The People’s Beach’,” Byrne says in a press release. “It was the first warm afternoon of the year. I walked alongside the Atlantic as the Earth came alive for the sun. There was a palpable sense of emergence to everything. I felt it in myself too, and remember thinking I would trade that feeling for nothing… not even happiness.”

Today, Julie Byrne has shared the song I Live Now As A Singer, the elegant closing track from her upcoming album, “Not Even Happiness”. It is Julie Byrne’s first song ever to be recorded without a guitar.

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Her husky voice ebbs and swoops in one of those wordless melodies that seems like the singer is channeling some ancient wavelength, Byrne’s voice is so delicate it sounds like she’s harmonizing with a breeze, her songs are so transfixing — the sun is setting, and the magic-hour light is warm and enveloping  that those of us who’ve gathered to watch her are sitting slack-jawed.”

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Not Even Happiness is out January 27th on Basin Rock Records.