|
|
|
|
|
|
|
|
|
|
|
|
|
CD
|
|
RIN 084CD
|
"Me And Ennui Are Friends, Baby is the latest full-length from New Zealand-born, Melbourne-based singer-songwriter, Sarah Mary Chadwick, whose brutally honest songwriting has cast her contrary to the gentleness of most current music. Comprised entirely of minimal solo piano arrangements, the album is despondently clear-eyed and smirkingly self-deprecating, completing a trilogy of records that started with The Queen Who Stole The Sky recorded on Melbourne Town Hall's grand organ, and her only outing to date featuring a full band, Please Daddy. Each record has followed Chadwick's internal processing after a traumatic event, with Chadwick's zeal for psychoanalysis front and center. On Ennui, Chadwick presents an exacting intensity with her choice to pare back to piano and vocals. It's in this stark setting that she focuses on the attempt she made on her life in 2019. The methods Chadwick employed here contrast those of her previous full-band record, which thrust her into a very different world of rehearsal, planning, restraint and control as a functional tool. The result, 2020's critically acclaimed Please Daddy, was her most aching and engaging achievement to date: 'a raw, often unnerving experience,' which 'delivers compelling and uplifting catharsis' (Mojo). Recording Ennui shortly after those sessions, Chadwick concludes her trilogy by returning to the most immediate compositional process she can muster, doing it alone, with less between her and the microphone than ever before. Joined by long time production collaborators, Me And Ennui was mastered by David Walker at Stepford Audio and mixed and recorded by Geoff O'Connor at Vanity Lair -- both expertly bringing scale, subtlety and intangible ascendance to this recording."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
RIN 084LP
|
LP version. "Me And Ennui Are Friends, Baby is the latest full-length from New Zealand-born, Melbourne-based singer-songwriter, Sarah Mary Chadwick, whose brutally honest songwriting has cast her contrary to the gentleness of most current music. Comprised entirely of minimal solo piano arrangements, the album is despondently clear-eyed and smirkingly self-deprecating, completing a trilogy of records that started with The Queen Who Stole The Sky recorded on Melbourne Town Hall's grand organ, and her only outing to date featuring a full band, Please Daddy. Each record has followed Chadwick's internal processing after a traumatic event, with Chadwick's zeal for psychoanalysis front and center. On Ennui, Chadwick presents an exacting intensity with her choice to pare back to piano and vocals. It's in this stark setting that she focuses on the attempt she made on her life in 2019. The methods Chadwick employed here contrast those of her previous full-band record, which thrust her into a very different world of rehearsal, planning, restraint and control as a functional tool. The result, 2020's critically acclaimed Please Daddy, was her most aching and engaging achievement to date: 'a raw, often unnerving experience,' which 'delivers compelling and uplifting catharsis' (Mojo). Recording Ennui shortly after those sessions, Chadwick concludes her trilogy by returning to the most immediate compositional process she can muster, doing it alone, with less between her and the microphone than ever before. Joined by long time production collaborators, Me And Ennui was mastered by David Walker at Stepford Audio and mixed and recorded by Geoff O'Connor at Vanity Lair -- both expertly bringing scale, subtlety and intangible ascendance to this recording."
|
|
|
Artist |
Title |
Format |
Label |
Catalog # |
|
|
LP
|
|
RINLP 042LP
|
"Following three critically acclaimed solo albums, Sarah Mary Chadwick's Roses Always Die expands on the quiet intensity of her previous work, exploring memory, grief and personal analysis. Her unflinching approach to songwriting introduces complex, often difficult subject matter as vivid as it is understated. An old immobile organ provides the only accompaniment to her voice, giving the album an eerie consistency that perfectly underpins the diverse, open-ended narratives that run through each song. The second album recorded with Geoffrey O'Connor (Crayon Fields), it has a more organic sound than the wall of synths used on 9 Classic Tracks, with most songs comprised of just one voice and a live '70s Yamaha analogue organ -- a huge, heavy, double-tiered beast with built-in percussion beats and pedal bass -- recorded on site in the loungeroom at Sarah's house in Collingwood, Melbourne. Unembellished and at times brutally sparse, these songs are whittled down to their surprisingly hooky, heartbreaking, wry, bare-boned essentials."
|
|
|
|