10 Jul 2018 // A review by Trevor Faville
Sometimes it’s good to approach writing a review for a new collection of music by listening to the music first, before reading any of the attendant press, and reviewer info. That way you listen to what you are hearing as opposed to what you are expecting. This proved rewarding for this release for a number of reasons.

Holly Arrowsmith reveals the main colours of her palette over the first couple of songs-Strummed acoustic guitar, breathy soprano vocals (with frequent skips into falsetto head-voice) carefully and intimately recorded. Fans of Emmylou Harris will certainly resonate with this. From here what happens is a gradually enfolding exposition of a creative artist who has really hit a peak. This collection of songs quite literally unfolds from piece to piece. Extra layers of instrumentation are carefully-so carefully-sprinkled over key points, and every song leads to the next, with no sense of rush but a very clear sense of direction.

So, there is an almost-narrative structure, and Arrowsmith uses this approach with real skill. There are cleverly alternating keys, meters and timbres which introduce variation in a way to balance slower tempo and quieter dynamics.  As the album progresses, the songs build in intensity, peaking with the final two songs Autumn and Slow Train Creek -songs which (gently) echo the instrumental flavours of Billy Bragg and Glen Hansard respectively. Powerful, evocative music that is confident enough not to feel any need to overstate itself. Witness the point in Slow Train Creek where the strings kick in and then diminuendo away by the end of that same chorus, leading to the plaintive final solo vocal phrase "return to me". It's a wonderfully effective (and affecting) way to end an album.

Lyrically, Arrowsmith has a way of being observational without being strident, and introspective without being narcissistic. Her words are not wasted, and she understands the power of a lyric wedded to a strong melody. A quick dive mid-album reveals an easy source - try Love Together for lyrical economy. Frequently too, Arrowsmith employs a kind of ‘final word’ technique with brief vocal codas at the end of a song-leaving the listener with some consecutive end phrases - “I am hopeful” “mostly they’ll teach us” “so much beauty I could cry” “let a little sorrow go” “return to me” - giving subtle emphasis to the not-quite-story-arc.

This is by far Holly Arrowsmith's best work to date. She has crafted an evocative ’big sky’ album that acknowledges and honours its influences without wasting too much time being reverential. Over this whole collection there is a fine musical sensibility, with melodic and lyrical strength, sensitive and intelligent arrangement /production, and clear creative vision. It is music that draws you back for another listen and offers fresh reward every time.


_{Review written by Trevor Faville}

Born in the high desert of Santa Fe, New Mexico and raised in the mountains of Southern New Zealand, Multi Award-Winning Songwriter Holly Arrowsmith is both poet and storyteller. With the conviction that the deeply personal is also the universal, Arrowsmith’s lyrics orbit around what it means to be human, and offer up prayer-like responses to our most intimate struggles.

A leader in New Zealand’s contemporary Folk and Alt-Country movement, Arrowsmith’s sound pays homage to tradition without being too reverential. From driven, glittering 90’s guitars with rich layered vocals reminiscent of Mazzy Star, to her falsetto lilt and stripped back emotive performances (think Joni Mitchell), Holly shape-shifts from powerful to intimate with ease.

She has won the hearts of music lovers close to home and abroad, touring throughout Australia and North America and sharing stages with Sixto Rodriguez, CW Stoneking, Tami Neilson, Jessica Pratt, Nadia Reid, Marlon Williams and Tiny Ruins.

Visit the muzic.net.nz Profile for Holly Arrowsmith

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