New Zealand has always been an underrated hub for artistic excellence. Much of this likely has to do with its comparative geographical isolation but, as technological progress continues condensing our world, New Zealand’s far-flung status fades away. Singer/songwriter Robin Kelly has built a growing reputation as one of the island nation’s gifted exports and his sixth album Shadowman is a more than worthy addition to his discography.
URL: http://www.robinkelly.co.nz/Musician.html
His songs benefit from the presence of ace collaborators. Nigel Gavin accompanies Kelly during both acoustic and electric tracks while vocalist Sonia Wilson’s talents help make several great songs even better. It’s Kelly who carries the day, however. “Good Morning, Captain Sir” opens with shimmering acoustic guitar. Those beginning passages are not cluttered though and this relaxed sense of control applies to his vocal as well. The vocal and instrumental melodies contrast one another with gentle results.
Shadowman’s production seldom utilizes post-production effects, but you hear some in its title cut. Double-tracking Kelly’s vocals is a little bit of a needless affectation though many listeners will find it adds a nice touch to the piece. The song boasts one of Kelly’s best lyrics for the release. “Our Last Valentine” will have its share of fans for a bevy of reasons. Leading the way is its duet construction with Sonia Wilson pairing up well with Kelly and adding a welcome shot of bluesy soul. The folky vibe dominating much of the album is strong here as well without ever sounding cliched.
The arrangement for “Soul Song” seems almost minimalist at some points but there are instrumental contributions tethering it to earth. Kelly works harmonica into several of Shadowman’s songs and its bluesy pedigree makes it a snug fit with the music. It’s another poetic mediation for Kelly. The album reaches a high point with “It Settled with the Moon”, an ingenious illustration of songcraft incorporating the serious, playful, and witty into its contents. Inspiration charges Kelly’s voice with an electric jolt absent from even the album’s best tracks.
“Behind the Veil” is moody modern folk adorned with near-gossamer keyboards providing background color. Wilson joins Kelly on vocals again. Many listeners will hear this as one of Shadowman’s more spartan efforts, it’s true, and he rises above that with the synth lines and the song’s full-throated vocal treatment. He ends the album with “Live Life Slow” and its message is in keeping with the same affirmative spirit guiding many of its earlier sentiments. It isn’t Pollyanna pie in the sky idealism as the music, if not always the lyrics, turn on a melancholy born from experience. It is an ultimately hopeful way to bring the release to an end.
Robin Kelly’s sixth release will satisfy any folk music fan, that’s for sure. It reaches further though. There is no reason in the world why an open-minded listener cannot connect with the stories, emotions, and experiences these thirteen tracks depict. Shadowman is not indistinct or foreboding in any way; Robin Kelly’s music lives in the light.
Chadwick Easton