Posts Tagged ‘Nadia Reid’

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Nadia Reid’s debut full-length album Listen To Formation, Look For The Signs is the culmination of ten years’ writing.  “Love is sold on the promise that it’s better than any solitary satisfaction, so you might as well bet everything on it, time and time again. On “Call the Days”, New Zealand songwriter Nadia Reid cuts to the heart of this deception: “I was happy on my own,” she sings in a plainspoken lilt. “I would call the days as they were known.” Yet there’s no trace of vengeance in her deep, capable voice, and the surface of her gorgeous song remains steady, as a raga-like drone anchors rolling acoustic guitar and languid cello. Instead, like Laura Marling or Joan Shelley, the self-assurance Reid had once cultivated acts as its own safe harbor, turning the event into a meditation rather than a rupture. For a new artist, her confident grace is all the more remarkable…”

Nadia Reid, a singer songwriter from Port Chalmers, New Zealand, is a folkish, slightly country, roots-oriented singer-songwriter. In the words of her songs, love is dangerous, good things are missed or longed for, and habits last a long time; in the music, guitars twang spaciously and the drumming, when present, moves with slow stealth…

Originally released November 27th, 2015

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Listen to formation, look for the signs was recorded in July 2014 at the Sitting Room in Lyttelton, New Zealand. Players on this record were Richie Pickard, Sam Taylor, Joe McCallum and Anita Clark.

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Nadia Reid performing at Bush Hall, London

Nadia Reid, who released one my favourite albums of 2017 with Preservation and who we named one of the best new artists of 2017, Nadia has debuted a new song, “The Other Side of the Wheel,” in a live session for New Zealand’s RNZ Music. It was filmed on a park bench in Nadia’s hometown of Port Chalmers, and it includes gorgeous nature footage and you can hear the native birds chirping in the background. The song is just Nadia with an acoustic guitar, but it immediately registers as music just as strong as the more fleshed-out material on Preservation.

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Folk singer Nadia Reid’s second album could be aimed heavenwards too. Lyrical clues are embedded in most songs and the first and last tracks are as spare, self-contained and hummable as hymns. As on her 2015 debut – released when she was only 24 years old – Reid has a lovely way of lingering on some notes and clipping others short. She has just returned from touring to her hometown, Christchurch New Zealand, where her friends and fellow folkies Marlon Williams and Aldous Huxley live too. All sing in a style beyond their years – what is it in New Zealand’s untroubled waters?

I am enormously proud to share the music video for Preservation with you. I worked closely with Julia Vares,  who produced, shot, edited and patiently translated my ideas onto the screen . We shot this film over two days on the streets I grew up on in Port Chalmers, Dunedin, New Zealand. The dancer, Bebe, I met in a record shop in Dunedin and instantly wanted her to be in the film. Her grace, and self-assured-ness was astounding and for me, it fit perfectly. Bebe, and Lisa Wilkinson, who choreographed the dance completely nailed it.

“Preservation” is the title & first song on my second record. There’s an intensity to it, but I actually find it quite beautiful in so many ways. It was cleansing to write. It is about loss, reflection and the future. For some reason, during the release of the album, I struggled to fully understand it’s meaning, there’s this sort of un-conscious state I often need to enter with songwriting, where meanings tend to become clearer and more obvious to me, months, or, years later…Enjoy. NR x

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.

Huge week for Nadia after she finished a European tour and her album is released in Japan, Europe and Aust/NZ. UK reviews are flooding through:
“perfectly crafted statements from a blossoming talent” **** Guardian
“one of the year’s landmark releases” **** MOJO
“simply breathtaking” ***** Record Collector
“pretty much off the scale” The Line Of Best Fit 8/10
“continues Reid’s graceful trajectory…” Uncut 8/10
“‘a worthwhile undertaking.” Loud & Quiet

“haunting” The Sunday Times

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New Zealand’s Nadia Reid has her brand new album; the follow-up to her 2014 ‘Listen To Formation, Look For The Signs‘ breakthrough debut. Released via the new Yorkshire-based label, Basin Rock, which is also behind the new record from Julie Byrne,Preservation‘ is out on March 3rd and is preceded by a brand new song “The Arrow & The Aim” .

Immediately more grandiose than we’ve come to expect from Reid, the new track is a striking proposition from the outset, her captivating vocal leading the track in to grandiose territory as the whole piece swells like some magnificent storm on the horizon. Cramming such aesthetics in to just three minutes could quite easily have led to something disjointed, but Reid handles it all with such heartfelt consideration that it feels beautifully balanced throughout.

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For anyone that wants to order a copy on CD, we are offering free postage today. $12 anywhere in the world today is amazing!
http://shop.spunk.com.au/product/nadia-reid-preservation-cd

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Temples release their second album Volcano on Heavenly Recordings. It was self-produced and recorded at the band’s home studio in Kettering. It doesn’t take too long with Volcano to realise that, while all the things that made the band special the first time around remain intact, a noticeable evolution has taken place. It’s there from the outset: the beefed-up beats of Certainty reveal an expanded sonic firmament, one in which bright synth hooks and insistent choruses circle around each other over chord sequences that strike just the right balance between nice and queasy. One thing you do notice is that it’s harder to spot the influences this time around. It would be disingenuous to evade the psych-pop tag, for sure, but mystical language has been supplanted by something a more direct – and while those influences are still there, it’s no longer possible to pick them out. They’ve been broken down and blended together – fossilised into a single source of creative fuel, so that what you can hear this time around, sounds like nothing so much as Temples. This is the sound of a band squaring up to their potential.

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18 months and 10,000kms travelled since many needles first dropped on her debut LP Listen To Formation Look For The Signs, it’s safe to say with new album Preservation, Nadia Reid now knows herself extremely well. An ode to self-reflection and self-betterment, Preservation is the sound of Nadia showing her true colours, taking back a bit of power, and learning more about herself. Deeply intellectual but felt by all, it punches harder than before. Nadia’s beautifully warm vocals coolly wrap around feelings of turbulence, and exude a gently improved confidence. Returning to the production skills of Ben Edwards in his Sitting Room studios and long term guitarist Sam Taylor, this time around everything is rubbed in more grit and channels Nadia’s deftly profound take on life and whilst we already knew it, her own realisation that it is music which drives her. Nadia has seen the world she once knew become a whole lot larger. Simply singing her truth has taken her to becoming acquainted with her Scottish and Irish heritage during her first full European tour, downtime with long-time sister-from-another-mister Aldous Harding and even making the odd award shortlist along the way (NZ’s 2016 Taite Music Prize). Rather than growth in its most typical sense of any artist finding their way in the world, Preservation marks a natural passing of time – what you pick up along the way is a bonus.

The wave pictures canvey island baby

The always prolific The Wave Pictures release an exclusive 10″ on Madrid-based label Acuarela with five very fine covers and an original in tribute to the legendary Wilko Johnson, mythical founder of the rhythm and blues band Dr. Feelgood. The Wave Pictures are strange: they are an indie rock band without indie rock influences. Everything they have been listening to throughout the years is blues and American 50’s and 60’s rock‘n’roll. Nevertheless, they have never enjoyed those retro behaviors which slavishly copy the looks, sound, haircut and sources of the past which escape from the spirit of the music they love. They have their own style and they don’t want to be a blues band, but the blues is there, in the invisible nucleus of everything they do. Following on from 2015’s Billy Childish collaboration Great Big Flamingo Burning Moon, their recent acoustic record A Season in Hull and their latest LP Bamboo Diner In The Rain, The Wave Pictures pay tribute in Canvey Island Baby to one of their major influences: Wilko Johnson. The founding member of Dr. Feelgood credited as one of the greatest ascendancies of the English punk movement has also been part of the cast of HBO’s Game of Throne as Sir Ilyn Payne back in 2010. In 2013, Johnson was diagnosed with late stage of pancreatic cancer and played what was going to be his final show guesting with Madness on the television program Madness Live: Goodbye Television Centre broadcasted on BBC Four. It seemed as if Johnson’s career was over after he cancelled his two final shows in Canvey Island, but on April 2014, he reappeared at the Icon Awards ceremony to surprise the world with the news that after radical surgery he was now cancer-free. The Down By The Jetty album was an early influence on David Tattersall for the way Wilko Johnson combined the roles of lead and rhythm guitar. But for The Wave Pictures, Wilko’s music is also loads and loads of fun. Citing David “he’s a wonderfully idiosyncratic singer and an original songwriter, always finding a little trick in that old blues song form to make a new, poppy point”. Wilko Johnson doesn’t use effects pedals and neither do The Wave Pictures. They have made this EP out of fun. After all, it is homage to one of the most influential guitarists and to the career of this living legend. It is a 10” which has as part of its title the name of his birthplace (Canvey Island), 5 covers of Wilko’s songs and a new original Wave Pictures song.

Blanck mass

As humans, we are aware of our inner beast and should therefore be able to control it. We understand our hard-wired primal urges and why they exist in an evolutional sense. We understand the relationship between mind and body. Highly evolved and intelligent, we should be able to recognize these genetic hangovers and control them as a means to act positively and move forward as a compassion-ate species. Unfortunately, this is not the case. Recent global events have proven this. The human race is consuming itself. World Eater, the new album by Benjamin John Power’s Blanck Mass project, is a reaction to this. There is an underlying violence and anger throughout the record, even though some of these tracks are the closest Power has ever come to writing, in his words, “actual love songs.” “Maybe subconsciously this was some kind of countermeasure to restore some personal balance,” Power explains. On World Eater, Power further perfects the propulsive, engrossing electronic music he has created throughout his impressive decade-plus career, both under the Blanck Mass moniker and as one-half of Fuck Buttons, as he elaborates upon the sound of 2015’s brilliant double album Dumb Flesh. As massive as the sonic world of the new record often feels, its greatest achievement is in its maximization of a limited set of tools, a restriction intentionally set by Power himself. “As an exercise in better understanding myself musically, I found myself using an increasingly restricted palette during the World Eater creative process. Evoking these intense emotions using minimal components really put me outside of my comfort zone and was unlike the process I am used to. Feeling exposed shone a new light on this particular snapshot. I feel enriched for doing so.”

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Everything Is Forgotten, the new album from Methyl Ethel (Perth, Australia), is a vivid, compelling and mysterious creature, all sinewy, curvaceous pop nuggets and enigmatic currents. Written and recorded by frontman Jake Webb, the album was brought to life by acclaimed producer James Ford (Arctic Monkeys, Foals). The pair’s collaboration infusing the band’s shoegaze dream-pop palate with electronic and polyrhythmic flourishes, allowing Webb’s keening, gender-fluid vocals and searing poetry to take centre stage.

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The seeds of Nadia Reid’s song writing were sewn while she was growing up in Port Chalmers New Zealand. Bob Scott, from The Bats, was her guitar teacher for a while but the pivotal moment came a little later. Reid and Hannah Harding, who plays under the name Aldous Harding, started to sing and write music together. One summer they had lived together. That led to performing together, and Nadia’s course was then set.

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Proving that Australia isn’t the only Oceanic island capable of producing a surprising array of alt-country and Americana, is New Zealander, Nadia Reid. Early this year, Nadia will release “Preservations”, the follow-up to her 2015’s debut, Listen to “Formation, Look for the Signs”, this week ahead of the release she’s shared her new single, “The Arrow & The Aim”.

The Arrow & The Aim walks a path through deathly, gothic-country, this track takes Nadia’s music into considerably more expansive territory than fans of her previous output might imagine. The chorus is huge, a swell of bombastic percussion, huge soaring guitar solos and constant naggingly beautiful piano chords; it’s pitched perfectly in the beautiful middle ground of Bill Callahan and Marissa Nadler. Whether this marks a departure in grandiose and intriguing new realms, or just serves as a stand-alone moment of darkness in an album of quiet beauty, well we can’t wait to find out. Getting the feeling that this new Nadia Reid album is going to be one that surprises me and I end up totally enamored with.

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The Arrow & The Aim is taken from the new album ‘Preservation’ out 3rd March 2017

One last push in Australia. It’s been bloody great. Thank you, Sydney for being so kind to an over-tired, over-caffeinated New Zealander. Brisbane'ers can find tickets for tonight on the Junk Bar website. Or on the door at The Junk Bar, $15. Please...

New Zealand singer/songwriter Nadia Reid’s debut album dissects a relationship whose end illuminates new layers of failure and hidden motives with each re-examination. Reid’s outlook on love may be hopeless, but her blunt words are cocooned by the warmth and unusual hookiness of the varied arrangements.

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Nadia Reid is a folk artist based in Port Chalmers, New Zealand. The 24-year-old singer-songwriter has spent the better part of the last decade writing the songs for her debut album “Listen to Formation, Look for the Signs”  a ten-track collection of folk, blues and alt-country.

Throughout the album, Reid presents a maturity that reflects on love and life’s blazes with a measure of intricacy and courage within melancholy.

Recorded in 2014 by Ben Edwards (of Lyttelton Records) with Reid’s band consisting of bassist Richie Pickard, guitarist Sam Taylor and percussionist Joe McCallum, the album was originally given limited release to New Zealand and Australia in early 2015. After catching international attention, Listen to Formation, Look for the Signs now out via Spunk Records and Scissor Tail (U.S.). Reid is currently in Melbourne, opening a series of shows for fellow New Zealanders Tiny Ruins.

Nadia Reid
Listen to Formation, Look for the Signs
Scissor Tail / Spunk