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'Deeper South' - Media Release - 29/1/2015
EPK
Shane Howard Electronic Press Kit (EPK)
Reviews- 'Deeper South'
Warwick McFadyen (The Age) **** (4 Stars)
This is Shane Howard's journey across the wine-dark sea. He takes to the ocean in imagery and philosophy, meditating on life and love in the pitch and roar of the waves, the depth of the currents, the surface tensions of the seemingly becalmed. He excerpts Ode by 19th-century poet Arthur O'Shaughnessy ("we are the music makers and we are the dreamers of dreams") in the liner notes to complement his own lyrics – for there's something of a constant battle on the captain's deck between despairing realism and the power of love. It's an all-acoustic, wooden instruments, affair that marries folk and Celtic genres. Howard's voice is deep and moving, a highlight being Hymn to Love.
This is Shane Howard's journey across the wine-dark sea. He takes to the ocean in imagery and philosophy, meditating on life and love in the pitch and roar of the waves, the depth of the currents, the surface tensions of the seemingly becalmed. He excerpts Ode by 19th-century poet Arthur O'Shaughnessy ("we are the music makers and we are the dreamers of dreams") in the liner notes to complement his own lyrics – for there's something of a constant battle on the captain's deck between despairing realism and the power of love. It's an all-acoustic, wooden instruments, affair that marries folk and Celtic genres. Howard's voice is deep and moving, a highlight being Hymn to Love.
Paul Barr, Music Specialist at Readings, Carlton
Deeper South is Shane Howard’s latest album and a beautifully recorded, crowd-funded affair. This album is a high water mark for Howard, combining poetry, blues, country, celtic and folk with rich acoustic textures. It’s apparent from the first few bars of the opening, title track that something special is happening. It features jazzy rhythms, powerfully strummed guitars and intricate instrumental fills. Throughout the album the lyrics are poetic, deep, loaded with social commentary and also more personal thoughts on love and grief. The power of the music is a force of its own, drawing you right into the songs. The second track ‘Everything is Rusted’ could have been a rant on the absence of leadership in our world, with its references to spin doctors, climate-change deniers, rust, decomposition and disease, but Howard’s delivery and the jazzy and bluesy interplay of guitar and mandolin keep this from being depressing.
Howard cut this album in his living room with stunning support from John Hudson on guitar, dobro and mandolin and Ewen Barker on fiddle and mandolin while assorted acoustic bass, cello, flute and bouzouki were added later. During rehearsals the band would play each song for hours, allowing things to emerge which must have made for some interesting production decisions. Certainly the instrumental virtuosity here makes this a contender for one of the year’s best. The performances are intense and extended affairs often featuring multiple instrument breaks within each song. Some tracks are more celtic in sound and show the band shifting gears effortlessly before leading into gentler songs such as ‘The Ghost of Love’. Album closer ‘In the Melancholic Long Run’ is the most typical Howard song here and takes us back to his first post-Goanna solo album Back to the Track – a very fine way to go out.
Deeper South is Shane Howard’s latest album and a beautifully recorded, crowd-funded affair. This album is a high water mark for Howard, combining poetry, blues, country, celtic and folk with rich acoustic textures. It’s apparent from the first few bars of the opening, title track that something special is happening. It features jazzy rhythms, powerfully strummed guitars and intricate instrumental fills. Throughout the album the lyrics are poetic, deep, loaded with social commentary and also more personal thoughts on love and grief. The power of the music is a force of its own, drawing you right into the songs. The second track ‘Everything is Rusted’ could have been a rant on the absence of leadership in our world, with its references to spin doctors, climate-change deniers, rust, decomposition and disease, but Howard’s delivery and the jazzy and bluesy interplay of guitar and mandolin keep this from being depressing.
Howard cut this album in his living room with stunning support from John Hudson on guitar, dobro and mandolin and Ewen Barker on fiddle and mandolin while assorted acoustic bass, cello, flute and bouzouki were added later. During rehearsals the band would play each song for hours, allowing things to emerge which must have made for some interesting production decisions. Certainly the instrumental virtuosity here makes this a contender for one of the year’s best. The performances are intense and extended affairs often featuring multiple instrument breaks within each song. Some tracks are more celtic in sound and show the band shifting gears effortlessly before leading into gentler songs such as ‘The Ghost of Love’. Album closer ‘In the Melancholic Long Run’ is the most typical Howard song here and takes us back to his first post-Goanna solo album Back to the Track – a very fine way to go out.
Tony Hillier, The Australian *** 3.5 stars
One of Australia’s finest singer-songwriters has repaid the investment with a set that extends to within cooee of the 80-minute capacity of a commercial album. The opening track on this self-engineered and produced home studio recording runs close to 10 minutes, while several others venture beyond eight minutes. While a better 13th solo release could have ensued from adroit editing, Howard can be forgiven for any indulgence — especially since many of the new songs reflect the windswept rural environment of his beloved native western Victorian coastline, or his social consciousness, or relate to personal loss and love. Musical diversity, as well as a back-porch vibe, also pervades Deeper South. The title track unexpectedly combines jazz chops and folk jiggery.
The equally imposing Dylanesque / apocalyptic Everything is Rusted extends the swing thing with Django-like chording from guitarist John Hudson. Ewen Baker’s bluegrass-tinted mandolin weaves nimbly in and out of Little Joey. Depth of My Ego, a love ballad with a difference, deftly incorporates Irish standard O’Neill’s March.
One of Australia’s finest singer-songwriters has repaid the investment with a set that extends to within cooee of the 80-minute capacity of a commercial album. The opening track on this self-engineered and produced home studio recording runs close to 10 minutes, while several others venture beyond eight minutes. While a better 13th solo release could have ensued from adroit editing, Howard can be forgiven for any indulgence — especially since many of the new songs reflect the windswept rural environment of his beloved native western Victorian coastline, or his social consciousness, or relate to personal loss and love. Musical diversity, as well as a back-porch vibe, also pervades Deeper South. The title track unexpectedly combines jazz chops and folk jiggery.
The equally imposing Dylanesque / apocalyptic Everything is Rusted extends the swing thing with Django-like chording from guitarist John Hudson. Ewen Baker’s bluegrass-tinted mandolin weaves nimbly in and out of Little Joey. Depth of My Ego, a love ballad with a difference, deftly incorporates Irish standard O’Neill’s March.