And because it was posted to a Facebook event for my 15th Jan launch, I’m reposting here for permanence and for those without Facebook.
Here is the review that was written by someone who stumbled on a show one evening, and then bought a pre-release copy of the album I had with me as I’d just gotten them in unexpectedly early, before the release date. His name is Mike Watts, and it’s such a kind review- full of everything you’d hope and dare to hear if you’d poured your heart and soul into an album. I didnt know him before he came to the show in December, and he certainly didn’t owe me this generous review so I’m probably going to print this out and frame it for posterity 😀
Saw Salwa Azar for the first time just before Christmas and were fortunate to be able to buy a pre-release copy of her ‘Black Feather Wooden Chair’ album and can’t recommend it highly enough and really looking forward to her album launch at the Lantern Society! Put a few thoughts together – short and longer version
The Skinny; Black Feather Wooden Chair is a must have, beautifully crafted album that rewards with new delights at every play
The Fatter; Salwa’s gorgeous vocals and thoughtful lyrics weave a tapestry through a variety of musical styles including folk, jazz, blues, country and sea shanty that somehow keeps the album together as the most delightful confection. One of the markers of a durable album is the difficulty in choosing ‘favourite’ tracks, even more so when those ‘favourites’ keep changing on repeated play. On first play of Black Feather Wooden Chair, the first ‘OMG’ song was the fabulous opening track ‘Clouds’ then the catchy riffs in ‘White Horse’ catch the attention, then the jazzy motifs of ’Tabletop love’, the humour and Americana style of ‘Vodka’ the quirky ukulele in ‘Untitled Folk song’, the mournful cello in ‘Poseidon Sea’, the reflective lyrics of ‘Eucalyptus and Pine’ or maybe the beat and shruti box in ‘Oarsman’? Several more plays left me with the notion that despite the diversity in songs and styles, this album should be played in it’s entirety as a ‘song cycle’ piece. The production and mixing of the audio is deft and light and the labour of love involved permeates the entire album. In conclusion, this is a wonderful journey through the musical influences of Salwa Azar and deserves the highest praise and widest possible audience of music lovers.
Great work Salwa!