Bedouine — „Waysides“ (Oct. 22, 2021)
⊇ Azniv Korkejian. Bedouine: Waysides. Třetí album Azniv Korkejian shrnuje její dospívání, potýká se s emocemi a zážitky, které přicházejí s nabýváním moudrosti.
⊇ Pochvalme její harmonie. Tyto harmonie působí, jako by seděly těžce ve vzduchu a měly sílu svižného větru, aniž by zněly příliš zdobně nebo extravagantně. Korkejian si udržuje vřelost a intimitu svou precizní jednoduchostí.
⊇ Waysides působí jako deník, stránky zůstávají skryté v zadní části sešitu. Korkejian prokázala svou schopnost vytvářet blízkost a upřímnost v minulých dílech, ale její třetí album chápeme jako její vlastní tajemství, nejen proto, že písně nebyly dříve sdíleny, ale také proto, že její vývoj jako umělce a člověka je nyní trochu více zjevné.
⊇ Ale tato nová stránka — důvěrný přítel Bedouine — vytváří na její hudbě to nejdůležitější: kamkoli se svým zvukem vybere, dokáže ho vytáhnout se sluncem zalitou brilancí a jednoduchou elegancí.
⊇ Waysides is not the typical album, but rather a hodgepodge of tracks cut from Bedouine’s previous records, threads of older material, scraps of the sounds and moments of her past. The album encapsulates the artist’s coming of age, grappling with emotions and experiences that come with gaining wisdom. Waysides is the kind of album that would back delicate daydreaming or frolicking through a field, as much as it would work for deep contemplation and nostalgia. Azniv Korkejian has a way of wrapping up rather heavy~hearted lyrics in a charming manner, so much so that the emotion at hand must often be extracted. Sometimes the emotional weight of the song is completely different from how the song sounds, as if one track can become two simultaneously. To use a phrase Korkejian herself sings in “You Never Leave Me,” her music is both “sweet and tough.” — Ana Cubas
Location: Syria, Saudi Arabia, Los Angeles, California
Album release: Oct. 22, 2021
Record Label: The Orchard
01. The Solitude 3:46
02. It Wasn’t Me 4:07
03. I Don’t Need the Light 5:04
04. Easy 3:49
05. This Machine 3:24
06. The Wave 3:46
07. You Never Leave Me 3:59
08. Sonnet 104 3:23
10. Songbird 3:06
01. The Solitude 3:46
02. It Wasn’t Me 4:07
03. I Don’t Need the Light 5:04
04. Easy 3:48
05. This Machine 3:23
06. The Wave 3:44
07. You Never Leave Me 3:58
08. Sonnet 104 3:0 3:22
10. Songbird 3:06
⊇ Produced with Gus Seyffert
⊇ Appearances by Josh Adams, Gabriel Noel, Mike Andrews
⊇ Mixed by Gus Seyffert
⊇ Mastered by Dave Cooley
⊇ Album Art by Robert Beatty
⊇ Album photo by Moises Galvan
⊇ Azniv Korkejian, the Los Angeles based artist who records as Bedouine, first sprang to international attention when her meticulous, eponymous 2017 debut seemed to open a window in time. With striking, direct vocals and simple guitar accompaniment, Bedouine was immediately dubbed “a modern folk masterpiece” by Fader and Korkejian was praised as a “future legend” by The New York Times. Following the release of her acclaimed sophomore album, Bird Songs Of A Killjoy, in 2019 Korkejian returned to the studio to craft her third record. Waysides will be released via The Orchard on October 15th.
⊇ Today’s album news comes with a brand new track. On “The Wave” Bedouine reveals her uncanny ability to explore the surreal poetics of grief. Korkejian says of the song, “I wrote this about the loss of a close friend, specifically the swell of emotion I try to resign myself to when thinking of her premature absence. She was someone who had an uncomplicated relationship with life and living. I often wondered “Why her and not me?” I was trying to practice the things I was learning, to surrender to the fear and the grief...and the fear of grief. I haven’t entirely worked through it. Writing “The Wave” was a reminder to feel my feelings. At a time of such collective loss I imagine there are people out there that could relate. It feels cathartic to share.”
⊇ Produced and recorded on her own and with musician/producer Gus Seyffert (Beck, Michael Kiwanuka, Dr Dog) in Historic Filipinotown, Los Angeles and Yucca Valley, California, Waysides includes appearances from Mike Andrews, who played guitar and mandolin on album standout “This Machine,” Josh Adams on drums, Gabriel Noel on strings for “I Don’t Need The Light” and “The Solitude”, additional instrumentation from Seyffert across the album, and Korkejian on piano, organ, vocals, guitar, and — on “Sonnet 104” — drums. Evoking comparisons to savants like Nick Drake, Vashti Bunyan and Karen Dalton, Bedouine has become synonymous with the best songwriters of the last few decades; an artist revered among her peers whose work is treasured by her fans — and all those who recognize a precious and rare gift when they hear. By Miles Raymer | Oct. 25th 2021 | Score: 8/10 ♠ it.https://floodmagazine.com/95333/bedouine-waysides/
By Ana Cubas | October 22, 2021 | 12:01pm | Score: 8.1
ς Despite Azniv Korkejian’s increasing success as Bedouine, she still feels like a secret — and not the kind you’re impatiently waiting to spew out, but rather the kind you want to keep as your own, as close to your heart as possible. Then again, it is difficult not to gush about Bedouine’s modern folk fables and luscious voice. Bedouine sounds as if she’s been plucked from Laurel Canyon in the ’60s, her music both effortless and beautifully intricate. Her lyrics are approachable, with a folky playfulness and poeticism. Each Bedouine track is a dream, a cosmic fog that flows easily into the ear, with the most polite seductiveness that enchants and ceaselessly delights.
ς Korkejian often intricately weaves the established folk sound with a contemporary, almost futuristic flair, mystical and otherworldly — somehow, still sounding timeless. On “The Wave,” Korkejian begins with an acoustic guitar, until moments later the picking is met with airy, occult instrumentals that almost capture what a shooting star would sound like. Near the chorus, magical little nuggets of sound feel straight from space, smoothly blending into the guitar and piano. Each instrumental moment peeks through every unsung moment of the track, a dimension entirely in itself, but equally as exquisite and light as Korkejian’s relaxed vocals.
ς Three albums in, Korkejian is still developing her musical style. Her 2017 self~titled debut and 2019’s Bird Songs of a Killjoy saw Korkejian toying with country, folk and soul, but Waysides may be the ideal album to help one understand what exactly her sound is blossoming into.
ς Syria~born, Saudi Arabia~raised and Los Angeles~residing, Korkejian’s nomadic spirit seeps into her music, both in instrumentation and lyrics. Her musical charisma has an otherworldly aura to it — wise, daring and whimsical, noting places like Chicago and Kentucky on Waysides as easily as she integrates various genres and influences from the folk stratosphere. It is this spirit that seems to pull off an album like Waysides, where sounds and thoughts from various past projects can still mingle and somehow sound cohesive, as if they were originally recorded together.
ς Waysides is not the typical album, but rather a hodgepodge of tracks cut from her previous records, threads of older material, scraps of the sounds and moments of her past. The album encapsulates the artist’s coming of age, grappling with emotions and experiences that come with gaining wisdom.
ς Waysides is the kind of album that would back delicate daydreaming or frolicking through a field, as much as it would work for deep contemplation and nostalgia. Korkejian has a way of wrapping up rather heavy~hearted lyrics in a charming manner, so much so that the emotion at hand must often be extracted. Sometimes the emotional weight of the song is completely different from how the song sounds, as if one track can become two simultaneously. To use a phrase Korkejian herself sings in “You Never Leave Me,” her music is both “sweet and tough.”
ς “The Solitude” may be the best example of this duality, a rather buoyant, country~tinged track with dreary lyrics of accepting being alone after losing a lover. In the most observant part, the chorus, Korkejian sings of one~sided dinner tables and too many pillows on a bed with the slightest pep, rather than drenching the Joni Mitchell~inspired track in gloom. Korkejian’s ability to add a gracious warmth to every track even occurs when the the unhurried nature of her music is left behind.
ς Korkejian excels at concocting both warmth and intimacy in her music, and it is no more apparent than on “Sonnet 104,” where that closeness is at the core of the track. Beginning with a casual “Are we rolling?” remark, every strummed guitar string and background vocal feels near. The song is enchanting, with a subtle spiritual element that almost makes it hymn~like, with its rhythm and sweeping, decadent harmonies. These harmonies feel as if they would sit heavy in the air and have the force of a brisk wind, without sounding too ornate or extravagant. Korkejian maintains her warmth and intimacy by her precise simplicity.
ς Waysides acts like a diary, the pages left hidden in the back of the notebook. Korkejian has proven her ability to forge closeness and sincerity in past works, but her third album feels like her own secret, not only because the songs haven’t been shared before, but also because her development as an artist and person is now a bit more overt.
ς But this new side — Bedouine the confiding friend — establishes the most important thing about her music: Wherever she chooses to go with her sound, she can pull it off with a sun~soaked brilliance and simple elegance. — PASTE