|Jess Bryant — Silvern (2012)|
Jess Bryant — Silvern
Location: London, UK
Album release: 2012
Record Label: Red Deer Club
1. Cutting (3:27)
2. Quiet Beauty (3:54)
3. In Deepest Blue (5:36)
4. Oracle Night (4:02)
5. Stone Lady (3:37)
6. Molten (4:42)
7. The Glance (3:53)
8. The Sea Is Asking (7:01)
9. Gravity & Grace (3:33)
• Jess Bryant
& live various combinations of...
• Andrew Hayes: Keyboard
• Francis Booth: Bass
• Andrew Grieve: Drums
• Samantha Whates: Vocals
• Sarah Day: Violin
¶ We are over the moon to say we have started working with London artist Jess Bryant. Red Deer Club will be releasing her debut album ‘Silvern’ in June of this year.
It will be out on limited edition 12” vinyl and download (available to pre order from May), we are also releasing a single in spring. We started work on the album cover this weekend, the opportunity arose to collaborate with the amazing photographer Emily Dennison (a small snap shot can be seen above). We have worked with Emily before on the infamous deer head shoot and Sophie’s Pigeon album cover.
¶ No doubt you will get sick of us rambling on about how good Jess is, so we will save all the details for later! Let’s just say the album is a masterpiece and we can’t wait to release it on lovely vinyl. In the meantime you can listen below to a live track recorded at Daylight Music, Union Chapel, you can also grab yourself a FREE download of Jess’s cover of ‘Wicked Game’ via ‘Red Deer Club Volume Four‘.
By Amy Hall (http://www.neverenoughnotes.co.uk)
¶ ‘Dark cinematic folk’ is how Jess Bryant’s music is described on her Twitter page. Cinematic certainly is an apt description but it’s hard to pigeon hole the orchestral ‘Silvern’, which could be labelled as much with the broad brush of indie as with classical, folk and jazz in differing places.
¶ Musically Bryant’s classical influences are clear and also a love of the glockenspiel, which appears nearly in every song. Apparently she is also influenced by writers like Paul Auster and Haruki Murakami who both focus on absurdism and surrealism.
¶ Silvern creates a ethereal and epic sound, with dreamy singing and wandering drum beats. The opening song ‘Cutting’, which will also be a single release later this month, sets this vibe with long and soaring singing notes juxtaposing the fast paced, almost dancing drums, clarinets, glockenspiels and violins.
¶ The album is crafted into a whole piece of music with each track taking a different movement. It is hard to pick out highlights in something so obviously intended as a whole, right down to final track ‘Gravity and Grace’, a slow moving song that ends so abruptly that you do begin to wonder whether you ever heard it at all.
¶ After a couple of listens the album does blend into one long dream sequence, which could be the intention but doesn’t help it to stick in the mind apart from as a distant and confused memory.
¶ Those who want to judge for themselves will need to be quick; the full length album will be released as a limited edition vinyl and download with only 300 copies with eerie but beautiful cover work by photographer Emily Dennison and designer Louise Gardner.
¶ Red Deer Club is extremely proud to present the stunning debut album Silvern from London-based songstress Jess Bryant. Talented producer Daniel Lea has taken elements of modern composition, ambient soundscapes, orchestral instrumentation and film soundtracks, pairing these with Jess’s distinctive vocals to create an astonishing collection of songs.
¶ Silvern brings these influences together to weave nine enchanting tales of pleading ghosts, dancing eyes and a visiting oracle. The record marries these intriguing narratives with an impressive mix of orchestral percussion, string arrangements and a varied selection of instruments.
¶ The musicality of the album adds another dimension, which sees serpentine clarinets wind in and out of tinkering glockenspiels to create a dark and fruitful landscape of sound. On one track, a foghorn-like clarinet blurts out into empty space, like a boat searching into the darkness.
¶ The musical elements of Silvern derive from a number of influences. The orchestral percussion references American composer Moondog and the lush string arrangements, which underpin the album with a bed of ambient textures, take inspiration from the work of Steve Reich. Part of the record is built out of Jess’s love for cinema and literature. The fascinating work of writers such as Paul Auster and Haruki Murakami has influenced the intriguing narratives that lurk within Silvern, whilst it’s occasional menace brings to mind a Lynchian waking dream.
¶ Jess herself is an incredible force on the album. Her soaring vocals play off the rich instrumentation to ground the whole piece in something intimate and human. Silvern is an astonishing achievement, we are very proud as a label to release this to a wider audience and hope that you connect with it as much as we have.
¶ The full length album will be released as a strictly limited edition vinyl and download. The cover features the stunning photography of Emily Dennison and the impressive design skills of Louise Gardner.
¶ “At once ancient and childlike, the pure tone of Jess Bryant’s rich alto voice travels straight to my heart….Jess stands as a rare and beautiful singer, so in tune with the expressive capacity of pitch, tone & the poetry of nature.” – Shara Worden (My Brightest Diamond)
By AdamTait on 23 August 2012 Rating: 7/10
¶ The debut album from London-based songwriter Jess Bryant is an intense and illustrative record full of emotional honesty and bold compositional decisions. Carried along by its ambient soundscapes, the instrumentation creates a backdrop for Bryant’s often haunting voice. To be honest, 'Silvern' is a record that is hard to categorise. It doesn’t fall particularly easily into any box, and there are no genre-defining aspects that jump out; rather it is the record’s fascinating composition and musicality that most apparently define it. Impressive string arrangements, clarinets and glockenspiels intertwine and meld to create an atmosphere that, while not oppressive, is frequently chilling and at times sinister. Lead single 'Cutting' carries with it a lively urgency that adds brightness to the somewhat wistful vocals. 'The Glance' is the most rhythmically robust track on the album and as such is arguably he most accessible of the nine tracks. There are some very clever and brave ideas at work on 'Silvern': compositionally it is one of the most impressive records you’re likely to come across this year. Most of these tracks are not likely to brighten your day with most of the album being a sombre and melancholy affair. However, he interaction of voice and music certainly makes for an interesting listen.
|Jess Bryant — Silvern (2012)|