Jordon Reyne’s website reflects the sheer complexity of achievement as a solo artist. It is ecstatic and aware. But her life performance is a rare chance to capture something so elegantly and precisely this singer can use her voice, it is an experience in rhythm and the authentic.

Tickets for tour – London 22 February 2012

Bugbear has a detailed review.

Gig info from the artist.

Catch Jordan Reyne at her regular Second Life performance – see details on her website.

UPDATE: Supported by Bad Woolf

A video with recorded sound for this song can be found here

Perhaps qualifies as a rare find Bjork CD or perhaps just an uncommon selection – not a release I had encountered before – first track is a gentle introduction with a male voice as as you listen to the song, as though her voice were exploring it, it made more sense, what follows you are not quite prepared for, it is extreme and relentless in layered beauty. It is Bjork at her adventurous best composing outseide the realm of political or even emotional meaning. It is a heated abstract of electric warmth produced through Bjork’s designed to spec intruments and more conventional orchestral arrangements this modern Mozart paints in a multi dimensional tapestry of sound and dance and colourful brilliance in Bjork’s unique style of composition rich and sometimes dischodant – the slicing deprecation the album ends with is every bit as weird as the rest of it. Bjork’s art significant work is indeed a dignified and serious work of art in itself.

With extraordinary production she presents her exclusive ability to be wonderfully weird and somehow in another place. Disconcerting and odd certainly but will it mature like wine or be consumed and disregarded remains to be bolted down. One certainly hopes so, she brings a patently unique stamp to her genre, which itself may indeed be its very own little subcategory I think that Rickie Lee Jones once occupied but maybe not as cutting as Julie Cruise.

[update] since first impressions and ignoring the media hype her management has achieved granting her a stamp of indy sufferin’ credibility and stories of her millionaire father behind the scenes inferring her talent was thus suspect – but listening to her myspace page is reassuring that this is media games. Her music holds up in produced circumstances, her recent performances I think were directed as part of her image. One she does not really need but it is an entertaining one. She styles herself as through she was a brand of expensive cigarettes invented in a David Lynch movie. Her music is a strange mix of Jim Morrison, Bjork and Johnny Cash. She has a pleasing voice with a fake fairy whisper and edges to it.

Originality rating: ****

If you have not listened to this wonderfully bizarre crossover act, from one of the worlds acknowledged best film makers, David Lynch make a CD, and hearing something almost expected however unearthing, our expectations for as a musician are dashed by an adroit flexing of rhythm and wonderful distantly lurid lyrics – “we all ran around the back yard – this crazy clown time – it was real fun” each stanza stamped in three times. It is dangerous and freaky but rather excellent to listen to. ****+

One that improves with listening. Contemporary, surprising and often sounding like it should, in particular the title track.

www.DavidLynch.com

Sometimes it is that combination of ingredients to rather good effect that is more than interesting to listen to, and at times provocative and yet a little too insular at times. At times the petulant boyfriend discovers he has to do the dishes. And then it soars into special territory. Idiosyncratically diplomatic if rhythmically magic. The pleading voice like a very adolescent Waters whining great poetry.

Have a listen to him during his creative ascendancy with the Diamond Dogs Sweet Thing Candidate performance (no visual, good sound) – worth a listen.

Das FLÜFF

Would You Die for Me?

First CD – available here

A three piece with three extreme and inventive artists create a shocking resonance rich with dangerous landscapes tarred by an atomic blonde brush of evolved glam, a skilled pen for both an adventurous lyric and perfect electric harmonies; a flawless cabaret, colour and syllable perfection, perhaps; both movement and voice, a flawless occupation of genre ideals.

Wearing the disguise of a remorseless disregard for convention, tarnished by shocking abandon. Listen unprepared for exposed emotional skeletons quaking with European sensibility. Here for once, is something genuinely new.

It is simply a voice, a guitar and a multifarious keyboard with both heavy agenda and bad-pussycat written all over its python like assault on your sensibilities. All those self-limiting secrets are hidden away as the transference of shock leaves its marks on your skin.

This is an album of the broken. An opus to grief stricken rage – pleading at the margins of what’s left. Dawn Lintern’s powerful voice is pitch perfect revealing nearly too much in a close to the bone album. The final song, Please surrounds you helpless in its grasp. Expressive and precise.

five star * * * * originality and performance

Classic and very original New Zealand blues band The Windy City Strugglers have been playing on and off for nearly 30 years. Led by Wellington Bluesman Bill Lake and Auckland Blues legend Rick Bryant, they have found popularity in Europe and New Zealand.

The Windy City Strugglers
Bluer Than You’ll Ever Be
written by Rick Bryant