By Jordan Mooney.
It’s always a great event when an independent musician releases a new album or EP.
Forget a multi-million record artist releasing their 60th cash-in, forget an album of B-sides that weren’t good enough for release the first time ’round. Forget your limited editions, your special editions and your alternative cases…
No, no. The true pleasure is when people pour their heart and soul into a release and make something great. Ten times more graft, no labels peering over every minute to make sure there’s no room for upset – oh no. Typically it’s a musician sitting on a train with a notebook. A musician at home with an acoustic guitar on a Friday night. It’s music by people – people you can meet in a pub, people you can shake hands with, hug, share a drink with.
It makes music more tangible – and often a herculean task for an independent artist.
One of the hardest working independent artists I know is Jordan Reyne. If you read the ‘zine regularly, you’ll know we love her an awful lot, you’ll probably also know precisely why..!
If you don’t? Well. It’s a pretty hefty task to put her work into words.
Jordan Reyne is one of these artists that capture the essence of modern myth and folktale. Much like the Greek tragedies of old, she creates the essence of time periods and presences, superstition, loss and life – in a manner that simply doesn’t seem to exist anymore. She captures the beauty of tragedy, and vice versa. She produces a thorough, elegant but oh-so-gritty and realistic view of the industrial age – that most evocative of times that built the modern world – and a scathing view of the present.
This incredible performer is in the progress of building a fascinating trilogy of EPs – Maiden, Mother, and Crone – that represent the archetypal women in society, and views life through the lens of each stereotype over the trilogy.
Mother, the second and latest in this short series, deals largely with expectations. The idea of how a mother should act – the expectation to drop goals in life and instead devote to others, forgetting her own wishes for her future. She’s regulated, she’s watched, she’s judged, and, most of all, she’s frustrated.
As ever, Jordan’s passionate, throaty vocals – huge in scale and epic in tone – really build the EP’s presence. It forms a particularly pertinent point in itself – even the smallest aspects and adversities of life – as either of these three characters – forms a towering lyrical saga, an adversity that seems almost impossible to overcome.
While the naturally occurring celtic themes of her music remain solidly in place, that isn’t the boundary the EP chooses to rest within. It feels happy to go into the supernatural, the modern and the timeless. It has no intentions of remaining a single-line commentary.
It may not produce the same stirring emotion as Miss Reyne on stage – that, I still believe, is the finest standard of a ‘Jordan Reyne’ performance – it’s still a near-faultless journey of relevant matriarchal issues. Like Crone before it, it stirs, it evokes, it shocks and it sends shivers up your spine with what seems like effortless tact.
To make matters even sweeter, Jordan brings with her a stunning music video for Ferryman – similarly timeless, and formed with the art of shadow puppetry. The result of 90 hours work, all of which, in our humble opinion, has proven to be worthwhile. Absolutely gorgeous.
Mother was released by Jordan Reyne on October the 14th. It’s now available for no more than four of your earth pounds for a digital release or six for the physical – well worth it in any situation!
You can buy – or simply listen – to Jordan’s incredible new EP simply by clicking below – you’ll also find its predecessor on her bandcamp page.