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Alternative Folk

Diana Ah Naid – Self-Titled (Album Review)

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Diana Ah Naid – Self-Titled (Album Review)

Sonically positioned somewhere between Sheryl Crow and Alanis Morissette is Australia's own, Diana Ah Naid. Ian McFarlane describes this 1997 independent, self-funded, release as a restless, funky brand of acoustic guitar folk with urgently charged vocals backed by an emotional, primal energy – Encyclopedia of Australian Rock And Pop. I don't know about you, dear reader, but McFarlane is spot on and no amount of pondering on my behalf could come up with a more precise review of this thoroughly satisfying Self-Titled release. That said, join me as I take a look at the individual songs and how I subjectively feel about them and the entire album.

I Go Off is a musical wonderland with nothing more than a vocal and guitar track filling the soundstage. While both are beautifully presented and recorded, Ah Nard's vocal prowess is simply astonishing. How she isn't a household name, is an absolute mystery.

If You Insist has a beautiful introduction. That guitar tuning is stunning and provides the perfect backing to the song. In some ways, it is a little too similar to I Go Off, but that isn't necessarily a bad thing as it develops a sound that allows the listener to identify and connect with the artist.

Fill Me Up has a good rhythm and a very alternative vocal presentation that is perfect for the style of music. The added brass instrumentation really builds a sonically pleasurable soundstage that ensures Fill Me Up is memorable and ready to be played on repeat. If you enjoy World Music, you'll love Fill Me Up.

See Through is an interesting composition that is a little scattered in places, but the hook is catchy. A solid addition to the album, but nothing to write home about.

Make It Begin is sonic gold. That musical introduction is magical as the piano is beautifully recorded. You really need to listen for yourself to appreciate just how amazing it is. Make It Begin may be mellow, but it’s one of the best songs on the album, if not the best. Absolutely stunning!

Wrapped Around My Head is a lovely tune but fails to fully captivate my senses. I find my mind wandering when listening to the song.

Ruok? is short, but spectacular!

Get Yourself Lost is a little too erratic and subsequently, I find it difficult to connect with a specific rhythm.

Leaving The Country is a gorgeous tune. Ah Naid's vocal presentation is mind-blowingly good. It is as if an angel is singing to you, and only you.

Flowers is a B-side that I simply can't get into.

K9 is musically impressive, but I have to be honest and say I would much prefer for it to have been an instrumental interlude as the vocal distracts the listener from the musicality.

Freaky Animals is an interesting tune that I enjoy, but I also have reservations with the child vocal inclusion towards the end as I'm not sure it suits the song. There is also an error on the Apple Music stream whereby this song continues in silence for a further minute and a half. It's a shame as the error makes you think the album has concluded, but there is one more song to be played as the original CD release had a hidden 13th untitled track. That track is now listed in Apple Music as Schlork Your S*****g. Subsequently, it looks as though the album has been uploaded directly from the CD and it infuriates me when this happens. I've never liked bonus hidden tracks, and this is further proof that they should be abolished. Albums that include this common CD-feature should, at the very least, be re-tracked when uploaded to streaming music services. 

Despite my above complaint, Schlork Your S*****g is an interesting track to conclude the album with. The chorus does drive me mad, but I appreciate the artistic intent and the verses are strong enough to hold the song together ensuring I’ll play the album again and continue to explore Ah Naid's catalogue. Speaking of that, it is important to note that all post-2004 releases by Diana Ah Naid are released as Diane Anaid

Overall, Diana Ah Naid's Self-Titled debut is thoroughly enjoyable and while I have some reservations, as detailed above, all songs work extremely well in the album format.

Diana Ah Naid's Self-Titled debut is available for purchase on iTunes, or if you prefer streaming, the album is available on Apple Music.

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Sophia Pfister – Birdcage (Album Review)

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Sophia Pfister – Birdcage (Album Review)

In 2016 I declared that the world needed a complete Sophia Pfister album as her Self-Titled EP was so captivating, due in part to Pfister's sultry vocals and the production quality, that I simply wanted more. During the last couple of years, I've seen sporadic updates of the recording process and in August, Pfister dropped her first full-length album, on vinyl first and then a later on digital stores and streaming services.

At the time of the album's release, I was busy moving home and subsequently delayed ordering the vinyl edition. It’s a little embarrassing to admit that I’ve still yet to place my order, however, just as I did with Pfister's debut EP, I can review the streaming edition and compare the vinyl release at a later date. Pfister is actually the perfect artist to do this with as she is a proponent of the vinyl format and I was beginning to wonder if we'd ever see Birdcage on the various digital platforms. While I applaud her commitment to the vinyl format, especially considering she remains independent and these releases are completely self-funded, I feel it is far more important for independent artists to focus on attention, rather than the delivery method. With that in mind, I don’t feel streaming and other digital delivery methods challenge artistic intent, for the physical counterpart should always offer a value-added proposition to the music lover. It is also important to remember that no matter how much we champion the vinyl format, there will always be those amongst us who dislike or are not interested in the format and that is okay. Yes, one could argue that exclusivity towards formats should be viewed in the same manner as attending an art gallery, or concert venue, where the consumer needs to go where the artist feels their work is best represented. If I were reviewing Beyoncé’s exceptional Lemonade, and the associated initial exclusivity with TIDAL, I’d agree with my aforementioned statement, but with one caveat – Beyoncé is a household name and therefore can afford to lose the attention of the casual fans as her rabid fan base will follow her to whatever platform or venue she decides to release her music via. While I’ve no doubt Pfister can reach similar heights throughout her career, it takes time to develop an audience and that audience needs access to Pfister without restrictions at this stage in her career. 

Birdcage (Feat. White Buffalo Stands) offers a seamless transition from Pfister's Self-Titled EP. If you loved that release, as I did, you'll feel right at home as it’s a beautiful way to start the album. The backing indigenous-styled vocals towards the end of the song are beautiful and show a skilled layering of musicality that has evolved since Pfister's Self-Titled EP.

The Wheel is a rather complex composition, with a variety of musical elements and styles throughout. While on paper it shouldn't work, it absolutely does and it's one of those songs that offer the listener something unique upon each listen.

Drifting is a beautiful vocal-focused tune. It’s thoroughly relaxing and that Banjo element, that I claimed was too prominent on Pfister's song, Sugardaddy, I find is perfectly mixed here and is simply stunning. In fact, the entire soundstage and musical depth of Drifting is nothing short of spectacular. Yes, dear reader, this is sonically how good music should sound. Exceptional!

Loved By Strangers has a very familiar rhythm that picks up the pace of the album. The composition, again, is rather complex, but you feel as though you are encapsulated by musical elements as the soundstage is perfectly presented with incredible instrument separation. Another great tune!

Bad Decisions is the greatest song Pfister has written and recorded thus far. As I listen to this masterpiece, I’m reminded of Adele, on stage, singing Hello. Yes, it is that good and this song is stadium ready and a massive hit just waiting to be discovered.

Ride The Wave isn't a bad song, but I feel there are elements within that have been borrowed too heavily from Pfister's Self-Titled EP. Of course, following Bad Decisions was always going to be a challenging task. That said, if there is a B-side to be heard, it is Ride The Wave.

Separate Ways (Feat. Dave Alvin) is second only to Bad Decision. It’s bloody brilliant and an exceptional duet. I love it! If I had one criticism, it would be that the electric guitar tracking should have been a couple of decibels louder, especially towards the end of the song.

Living In The Grey is a thoroughly enjoyable closing track that ensures I'll listen to the album again and stay within Pfister's small, but growing, catalogue of music.

Birdcage is an absolutely stunning debut album and, by any standards, is world-class. When you compare it to some of the big name mainstream releases, you can only wonder how they have received recording contracts while Pfister remains independent. Of course, Pfister may decide to remain independent, but she has the musical talent to be one of the leading ladies in the music industry and while the industry is changing, record labels and solid management and promotional teams remain vital to achieving such heights, especially at the beginning of one’s career as a musician.

I can, without doubt, confirm that Birdcage is both sonically beautiful on Apple Music and TIDAL Hi-Fi. Yes, TIDAL's CD-quality stream offers a little more depth but the core performance is transparent, regardless of the delivery platform, meaning that the recording, mixing, and mastering is absolutely perfect. With that in mind, and knowing just how good Pfister’s debut vinyl EP sounded, I can't wait to get the vinyl release of Birdcage. Speaking of which, I better go and order myself a copy before they sellout.

Birdcage is available on Vinyl, the TIDAL Store (16/44.1kHz FLAC), iTunes, and Bandcamp.

If you prefer streaming, Birdcage is available on TIDAL Hi-Fi, Apple Music, and Spotify.

Click here to read other Sophia Pfister reviews by Subjective Sounds.

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