There's a moment, a few short seconds into the first listen to, it seems, any release Anna-Lynne Williams is involved in, in which a comfortable sense of peace and calm descends. Yes, that voice, that voice is still intact. If anything, it is improving as time goes by. No, I didn't think it was possible either. More than this though, Bluebird of Happiness finds Lotte Kestner confidently hitting her stride, consistently knocking song after song out of the park, equal parts direct and fragile, stretching the bounds of her sound and showcasing a bravery in the mix which marks the album out as surely one of the best singer-songwriter releases of 2013.
China Mountain and Stolen, the albums to precede this one, have both spent considerable amounts of time being kind to my ears, and Bluebird of Happiness is a welcome addition to that wonderful canon of work. I know I often say this when writing about an album, but really, to pick out individual songs for praise or comment is to miss the point somewhat. This collection of 12 songs, which includes an interesting cover of Halo, works best when listened to in one sitting, as a whole piece of work. That way the journey through Wrestler, via Turn the Wolves' deliciously eery minor progression, via When It's Time and Sweetheart, all the way to closers Cliff and Little Things can take its fullest effect. It's all very well having a great voice, but you can't live on that alone, and each of the songs listed here bring something. Williams has always been a strong writer, with a great ear for a melody and a poetic lyric, but this is her strongest, most cohesive collection of songs to date. The atmosphere which is established with opener String is largely maintained throughout the album, as Anna-Lynne transports the listener in to songs of lost and broken love, sorrow, as well as physical and emotional suffering. I really don't think there's anyone who is putting out better music of this type than Lotte Kestner at this point, nor has there been for quite some time. The ability she has to wear her heart on her sleeve whilst simultaneously remaining cryptic and artistic in her exploration of the good and bad of life marks her out as one of the 21st century's great artists. If only more people would sit up and pay attention....
Showing posts with label Anna-Lynne Williams. Show all posts
Showing posts with label Anna-Lynne Williams. Show all posts
Tuesday, 30 April 2013
Monday, 28 January 2013
Lotte Kestner "Cliff" Video
Lotte Kestner is probably my favourite singer songwriter. Ever since a transfixing first viewing of Trespasser's William, somewhere around 2004, I have been progressively more spell-bound by everything that has emanated from the pen, and the voice of Anna-Lynne Williams. This is far from the first time I've eulogised about her voice in writing, and I'm sure it won't be the last, either. Lots of people have special voices, but not many use them to their full, spectacular potential.
Having released a couple of albums independently, Lotte Kestner now returns with a new album, Bluebird of Happiness, on a new label, Saint Marie Records. The video for the album's first single, Cliff, can be seen below.
I'll have a review for the album here in the not-too-distant future, but in the meantime, sit back, bask in the wonder of this single, and then pre-order the album forthwith. Perhaps this will finally be Anna-Lynne's time to enter the spotlight of the wider public consciousness that her beguiling talent undoubtedly deserves.
Having released a couple of albums independently, Lotte Kestner now returns with a new album, Bluebird of Happiness, on a new label, Saint Marie Records. The video for the album's first single, Cliff, can be seen below.
I'll have a review for the album here in the not-too-distant future, but in the meantime, sit back, bask in the wonder of this single, and then pre-order the album forthwith. Perhaps this will finally be Anna-Lynne's time to enter the spotlight of the wider public consciousness that her beguiling talent undoubtedly deserves.
With Anna-Lynne currently hard at work with Robert Gomez on the follow up to last year's triumphant debut Ormonde album, Machine (featured in my albums of the year) as well as a follow up EP of her own, 2013 is already shaping up to be a special year.
Wednesday, 18 July 2012
Ormonde - Machine
Ormonde - the new band from Anna-Lynne Williams (Trespassers William, Lotte Kestner) and Robert Gomez - release their brilliant debut album, Machine, on August 7th. This record has been a long time coming. Released on Hometapes, this is a beautiful record.
Anyone who has followed my writing for a while will know that I have made a point of keeping up with what Anna-Lynne has been up for a number of years now, ever since I discovered the wondrous Trespassers William album Different Stars. I have to report that this, by far and away, is the best release I've ever heard from her. As I've said before, she has one of those voices. The kind that you could die happy listening to, the kind that you'd thank for telling you you needed a tooth extraction because the news would be delivered so lyrically. Here, with Robert Gomez, she has struck the perfect collaborative note. Indie yet immediate, pop. yet dark enough to appear dangerous, retro and vintage, yet incredibly insistent and vital, as the press release attests, every track here could be the opening track, or the first single. This album will deservedly sit atop many end of year best of lists, so completely does it tower over any "opposition" which it may face.
Beginning with the Midlake-like Can't Imagine (hear it below) the album proceeds serenely through ten perfectly formed paeans of poeticism and indie beauty. The temptation to describe the magisterial magnificence of each and every song is immense, but just writing words upon words would not be enough. There are inflections of creativity in the mixing and arrangements here which bely the fact that this was a collaboration between two artists who barely knew each other when they began. Both have their chance to shine, vocally, with Williams' best moment on the organ-infused title track, while Gomez features prominently on Cherry Blossom. Best, though, is where the two magical voices intertwine together, as heard most clearly on Sudden Bright, with it's lilting acoustic riffs and persistent synth flourishes, and the slow build of Hold the Water's woodwind and percussion.
Throughout the interplay between the acoustic and bass guitars is wonderful, as arpeggiating figures of acoustic underpin most songs, weaving in and out of the mix, carried along on beds of probing bass. The attention to detail here is staggering. Every note, every flourish, feels just right, like it had to be just where it is, at just that moment
Previously I cited Midlake as a potential influence influence, and it does seem to me as if the shadow of that brilliant band is cast long over this album. Rhythm section sounds are pleasingly similar, and the almost playful musicality which is at the record's core as a counterpoint to the minor key chord progressions which pulse throughout seems to take the pastoral folk template of an album like The Trials of Van Occupanther, and improve on it ten-fold. Machine is a clearly distilled alt-folk masterpiece, a combining of powerful creative forces and visions which has resulted in the best thing released by either artist in any of their previous incarnations and iterations. A clear must buy and album of the year shoe-in.
Anyone who has followed my writing for a while will know that I have made a point of keeping up with what Anna-Lynne has been up for a number of years now, ever since I discovered the wondrous Trespassers William album Different Stars. I have to report that this, by far and away, is the best release I've ever heard from her. As I've said before, she has one of those voices. The kind that you could die happy listening to, the kind that you'd thank for telling you you needed a tooth extraction because the news would be delivered so lyrically. Here, with Robert Gomez, she has struck the perfect collaborative note. Indie yet immediate, pop. yet dark enough to appear dangerous, retro and vintage, yet incredibly insistent and vital, as the press release attests, every track here could be the opening track, or the first single. This album will deservedly sit atop many end of year best of lists, so completely does it tower over any "opposition" which it may face.
Beginning with the Midlake-like Can't Imagine (hear it below) the album proceeds serenely through ten perfectly formed paeans of poeticism and indie beauty. The temptation to describe the magisterial magnificence of each and every song is immense, but just writing words upon words would not be enough. There are inflections of creativity in the mixing and arrangements here which bely the fact that this was a collaboration between two artists who barely knew each other when they began. Both have their chance to shine, vocally, with Williams' best moment on the organ-infused title track, while Gomez features prominently on Cherry Blossom. Best, though, is where the two magical voices intertwine together, as heard most clearly on Sudden Bright, with it's lilting acoustic riffs and persistent synth flourishes, and the slow build of Hold the Water's woodwind and percussion.
Throughout the interplay between the acoustic and bass guitars is wonderful, as arpeggiating figures of acoustic underpin most songs, weaving in and out of the mix, carried along on beds of probing bass. The attention to detail here is staggering. Every note, every flourish, feels just right, like it had to be just where it is, at just that moment
Previously I cited Midlake as a potential influence influence, and it does seem to me as if the shadow of that brilliant band is cast long over this album. Rhythm section sounds are pleasingly similar, and the almost playful musicality which is at the record's core as a counterpoint to the minor key chord progressions which pulse throughout seems to take the pastoral folk template of an album like The Trials of Van Occupanther, and improve on it ten-fold. Machine is a clearly distilled alt-folk masterpiece, a combining of powerful creative forces and visions which has resulted in the best thing released by either artist in any of their previous incarnations and iterations. A clear must buy and album of the year shoe-in.
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