You can ditch modes, ignore structures, even subvert the orthodoxy, but you can’t outrun yourself. And, fortunately for us, the courageous, and heartfelt approach, Julia Reidy brings to composition, has gifted us yet another extraordinary album.
In contrast to recent forays into electronica, the Berlin based multi-instrumentalist, has picked up the twelve string guitar, adopted alternative tunings, and bent convention out of shape for World in World. The lush sweetness associated with the twelve string is evident, but the fingerpicking is tempered with spiralling effects, wobbles of tremelo, and the ghostly presence of Reidy’s own auto-tuned voice. Whereas, melodies are either stretched to challenging levels, or left to wilt, akin to a Dali clock face.
Whether you consider this a glimpse into an artist’s introspective study, or a set of twenty first century transcendental ragas, its apt the album is encased in a sleeve reminiscent of the ECM imprint, as Reidy has embodied their motto to create ‘the most beautiful sound next to silence.’
