NOT BUILT TO LAST EP REVIEWS
Sydney Morning Herald
Lane’s beautiful tones and Americana folk conjure images of the lonely travelling musician. This feels like Lane’s comfortable, musical and mental landscape. Whether drowning sorrows or raising one’s head from them, this guy is one of the country’s contemporary legends. He is a master minstrel who, sheltered from the commercial market place by his love of a rich folk art tradition, deserves more attention. With the highlights on this five track E.P. cleverly outweighing the low ones, this gets filed under K, for Keeper.
FBI Radio Sydney
Take pieces of Jeff Tweedy, Ron Sexsmith and Jackson Browne, melt them down in a beautiful crucible of music and you end up with Jordie Lane: a truly diverse folk musician…
The Melbourne-born, LA-based troubadour possesses a sound drawing from all these different influences that somehow results in something completely individual. Oh, and did I mention that the resulting sound is excellent?
It’s bloody excellent.
Lane’s most recent release, the five-track EP Not Built To Last, is a beautiful collection of songs possessing a somewhat unique, if occasionally bleak outlook on love, that all the while highlights his diversity.
Opening track ‘Here She Comes‘ is upbeat and uplifting. From the bellowing piano to the jangling electric guitar, typical of that big country sound, it is the perfect way to open a record. Lane’s voice is smooth and sincere, as he waxes lyrical about the pleasures, pains and complexities of love, singing out: “That knife called love, has just found its mark.”
A gentle grind of vintage folk-pop, Jordie Lane pushes the tremolo in his voice while brandishing touches of George Harrison slide guitar and Revolver harmonies. It’s a well put together piece of work, thought the slide action could have been giving more of an airing, but Jordie’s voice still proves capable of carrying the majority of the load.
This long-standing singer-songwriter’s new offering exudes professionalism and versatility, shifting between a slow, meandering mood (sometimes carefree, pining at others) and more upbeat country ballads. Uplifting opener Here She Comespairs a steady rhythm with clacking percussion, over which a boy-girl duet harmonise and croon in their country twang. Lane’s powerful, wavering, folk-steeped voice continues in Dead Of Light– a sprawling, expressive folk tune. The next few songs lean towards more traditional country with their acoustic guitar and gentle, longing tones in which lyrics are clichéd. He plays 9 Nov at Thornbury Theatre.
Casual Band Blogger
After one listen to a Jordie Lane song, it’s blatantly obvious that you’re in the midst of something special. With a voice and sound that come from another time, his Bob Dylan and Paul Kelly influences shine through tremendously as he transforms their similar country folk compositions into a masterpiece all of his own.
Listening to his latest single from upcoming EP Not Built To Last, ‘Here She Comes’ provides all of the warm and fuzzies, and like many of Lane’s other works, makes you feel like all is right in the world. So effortlessly charming anyone who hears his unique voice, the vocals occasionally slip into a range comparable only to the late great Johnny Cash.
The bittersweet lyrics are paired with a finger-plucking tune that allows ‘Here She Comes’ to showcase every inch of talent that Jordie Lane has on offer. From instrumentals to vocals, the single is a mouthwatering teaser for what’s to expect on the new record.
Standing in a league of his own, Jordie Lane is Australia’s hidden diamond. Giving the single a listen will be the best decision you’ve made all week, that’s a promise.
“Jordie Lane’s debut album may well come to be regarded as one of the most assured ever by a local artist. Displaying the soulful tenderness of Ron Sexsmith and Ray LaMontagne…, Sleeping Patterns is a rare treat”.
– Rod Yates
“Jordie Lane confirms his reputation as one of this country’s brightest new roots music stars with a long overdue debut album”.
– Martin Jones
“Young man, old soul. Jordie Lane is in his early 20s, but he sounds like an old-school troubadour, a man with a million stories to tell.
– Jeff Jenkins
The Age EG
4 1/2 stars
“One of the most assured debut albums by a Melbourne singer-songwriter in recent memory, Jordie Lane’s songwriting and voice are underpinned by a maturity that bellies his age.”.
– Patrick Donovan
“You can’t help but cry “Genius!”
The next thing you’ll notice is how far Lane has come with his guitar playing and singing. Nearly all 12 songs are based around Lane’s fingerpicked acoustic guitar, augmented by some tasty sprinklings of banjo. In fact, on songs like ‘Not From Round Here’ that’s all you’re hear besides Lane’s voice.Now to that voice.Bearing the most responsibility on Blood Thinner, Lane’s voice rises to the challenge as a force of power and grace. The album bio raises Springsteen’s Nebraska as a point of reference and not without cause. You know how you can picture Springsteen alone in the dark in some shabby room singing those Nebraska songs and you’re compelled by the truth of every single word? You can picture Lane sitting in that Joshua Tree room in much the same fashion, moaning that truth like his life depended on it. And maybe it did. Both his harmony singing, and more bare performances (check out ‘Waters Clear Here Dear’) are breathtaking.The album opens in a Welch/Rawlings tone, Lane providing, as he does for almost the entire album, all the instrumentation, backing himself on banjo and harmonies, with ‘Diamond Ring’, a potent two-and-a-half-minute tale of heartbreak.
Second track ‘Annabelle Marie’ is immediately striking, McCartney-esque in its bird-song melodiousness and pretty finger-picking, before the title track heads back to Welch/Rawlings territory with some incredible harmonies and Dylan-like lyrical bursts. Again, the whole thing’s over in two-and-a-half minutes, job done.
Like Welch, Lane has a knack for juxtaposing the ancient and the modern – ‘On The Net Till Morn’ talks about online lust in a traditional country-blues format. He’s also capable of claiming ownership of such well-worn forms. You’d sware the closing gospel opus, ‘I Sinned Today’, was lifted from an esteemed troubadour of yesteryear.
But, like Nebraska, Blood Thinner is not an album in which individual songs immediately jump out at you. They are like chapters of a book, each a critical part of the whole experience, each similar in tone and spirit, each contributing to the cumulative effect. That, my friends, is what they used to call an ‘album’!
On Saturday night, I convinced some of my best friends to travel 300 km, and along with my girl and my family, to take a leap of faith and come join me at Festival Hall to see someone i had barely heard and someone we had never seen. I can’t explain what compelled me to do so, other than some strange intuition and a certain desire: every once in while, fleetingly so, live music does form a union, where something is so brilliant in its beauty, its craft, its tenderness, or its energy that you look at the person you are with and just have that incredulous/happy ‘i can’t believe we are witnessing this’ moment. That’s all you can hope for from a live show – sometimes those moments flicker and sometimes they don’t appear, and the thrill can be hard to replicate. Any prior doubts or uncertainties i had on Saturday were quickly put to rest in about half of one of Jordie Lane’s songs; we became mesmerized by his voice, his charm, and his songwriting ability. Another Aussie gem largely unheralded in our vast continent. Unsungpresents.com
9.5 out of 10
It took Melbourne singer-songwriter four years to finally get around to his debut album, but when he did, it came quickly. Produced by notables Tim Hall and Jeff Lang (adding plenty of his distinctive guitar to the mix) and featuring guests like Liz Stringer and Laura Jean, it took only five days to assemble these 13 tracks. Not that it sounds at all rushed, especially when you hear the patient roots balladry of tracks like The Day I Leave This Town and I Could Die Looking At You. That latter song, incidentally, confirms Lane’s connection with this country, drawing on the legacy of Banjo Patterson. We also get an Australian’s perspective on the darker side of a visit to Vietnam in War Rages On, where Lane’s simple but effective guitar picking gets a lift from Salvation Army-like horns. Yet, despite the sense of place in the narratives of these songs, Lane’s inspirations come from further afield – specifically, American folk, country and blues, clearly evident in rollicking tracks like Dig Straight Through and the Dylanesque romp of John W Thistle. Served well by a voice that sits between wistful and weary, between emotive and earnest, Jordie Lane is about to wake people up with this set.
Though his early songwriting showed plenty of promise, this debut is a tremendous leap forward. The music is a mixture that blends elements of roots, country, folk and dusty rock so at times Lane could be compared to Ryan Adams or Wilco and at others James Taylor.
The album was recorded in just five days with Jeff Lang and Tim Hall on production duties and you can hear the organic creation of these songs in the earthy and warm tones being wrung out of instruments played by local Melbourne identities like Steve Heskith, Ashley Davies, Liz Stringer and Laura Jean.
Lane’s songs aren’t just stories about the unexpected people you come across in life. There’s also the heartbreakingly beautiful The Day I Leave This Town, where Lane gets introspective and ponders his many possible futures and the things he may have to face in his life and There Once Was Life To Come with its ever swelling horn part.
Like Ryan Adams’ Heartbreaker, Lane on Sleeping Patterns manages to convey a world of emotion in these songs and not just because of his storytelling skills. His unassuming but resonant voice is the other reason this album will connect with anyone willing to give it a spin.
Aided by some of Melbourne’s best musicians and co-produced by Jeff Lang and Tim Hall, he has mixed folk and country and delivered a fine acoustic album. His love of Dylan, Van Zandt and Hank Williams are fairly obvious, but he is certainly not a pale imitator. Once again, the little indie label Vitamin has released one hell of an Australian independent album.
Lane’s voice is a voice that commands respect. It has with it the solemnity of wisdom and experience, as well as the exuberance of youth. When you consider his age years it makes the overall journey of his music that much more compelling.
He succeeds where so many others of his ilk fail. He engages with the listener with such clarity. In the folk genre the artist can become too inwardly focused and as a result, lose the audience in a sea of self-indulgent murkiness. With Lane’s overall lyrical dexterity, he is a natural teller of stories. The audience can’t help but listen. He commands it.
It’s Lane’s willingness to experiment with light-hearted humour that also makes Sleeping Patterns and all-round success. Not limited to his dalliances with humour, he also experiments with other polarized areas of melody and verse, managing to straddle a delicate balance between heart-warming ballad and ball tearing madness with great effect.
After winning a Vic Rocks grant, he has managed to bolster his uniquely hearty sound with all manner of organs, fiddles and country associated madness. And the end result proves the money has been well invested.The Publicans Daughter serves as a solemn warning to the protagonist. The War Rages On delves into the troubles of the forgotten often forgotten in Vietnam, while the soothing The Day I Leave This Town offers a brutally honest view of the uncertainty of maturation. The most exciting and visceral experience on Sleeping Patterns is John W Thistle. Although it’s been done, it still remains a whole lot of fun. The strained vocals are reminiscent of early Dillon, while the Hammond organ offers nothing less than pure adrenalin for the listener.The importance of Sleeping Patterns cannot be understated. It shows that with the right assistance, a talented artist is capable of amazing work when afforded the right opportunities. It’s with this assistance that Jordie Lane has had the means to create his vision with as much accuracy and clarity as possible. Hopefully it is with Sleeping Patterns that a long and fruitful career for Lane is established. One gets the feeling that we certainly haven’t heard the last from him just yet.
It’s hard to accurately describe the feeling in the room but it’s music like Jordie’s that makes it seem like the world’s not such a bad place, and nothing evil could exist when there’s something so sweet as that” AU Review
“Well Jordie, after that gig we could all die listening to you!” Rip It Up Magazine
“A very special gig and once again a great example of the quality folk music this country can produce. Thank you Jordie Lane” Timber & Steel
“First up was local boy Jordie Lane. If ever the term ‘old soul’ were to apply to anyone, we’ve got a live one here. Close your eyes and listen to the words – which you can actually hear, a rare thing in any venue – and you’d swear they were coming from someone twenty years older. His Vietnam tune War Rages On exemplifies this. The delicate picking style and distinctive lilt of Australiana frames this bright young talent as our new singer-songwriter du jour. He seems at ease with the crowd, and reveals himself as an old hand on the tough touring circuits, where he was unfortunately asked to play Robbie Williams for clearly unappreciative crowds.
There’s also plenty of versatility here, and the set is split nicely in two: the folky first half and dirtier, bluesy second half, like the two sides of a coin. Lane possesses the ability to ride the acoustic wave from mournful and dark balladeer to pure open-road expansiveness, and joking Aussie wit. There’s a seam of Americana in here too, as is the case with many songwriters of a bluesy lean. It doesn’t undermine what he’s trying to do, though – just adds a little colour to proceedings. The band finish on a fun-time blues number, pumping us up for what’s to come next.” Faster Louder – Oct 21st 2009 Live Review, Prince Bandroom, Melbourne – Support for Tex Perkins
Having been given a generous support slot- a full hour- Jordie Lane opened the stage at the Prince of Wales as though the show was his own. The venue was doing great things for Jordie’s calm, vocally prominent work early on (as was the man’s diction, mind you) and you could hear every word in his Vietnam tale just right – the sound techs know what they’re doing at the Prince. As the set went on and more early-comers filled the room, the tunes did get louder, but Jordie’s voice stayed strong; his singing style reflective of Paul Kelly – lyrically dominant, with an Australian-accented tinge creeping through.
From the slower folk majority of the set, Jordie and band built things up as they had more faces to play to. A rollicking diversion from the folk material saw a previously hidden energy in the band about halfway through the set, the soulful keyboard work of Steve Hesketh doing wonderful things for the song. Jordie then went solo to perform the beautiful I Could Die Looking At You and recounted tales of being ordered to play some Diesel or Robbie Williams in Townsville – certainly an amusing thought given the folkie’s style. The set finished with a pair of much heavier, blues-fuelled tracks – including the great Dig Straight Through – ending things in exciting style.” The Dwarf – Oct 21st 2009 Live Review, Prince Bandroom, Melbourne – Support for Tex Perkins
“Jordie Lane meanders onto stage and kicks into a new song called Down Where The Old Roses Grow. The no-frills Aussie roots muso has just walked to the gig from his nearby Thornbury digs and he’s as relaxed in front of a burgeoning crowd as he would be in his living room in front of an open fire plucking his guitar and swilling down the odd whiskey. Plugging into Sweet Somebody from his first EP, 2006’s Lovers Ride, the delicately framed tune has lost nothing over the years – and that’s Lane’s charm. The fact that he can write a timeless song at the drop of his trademark hat. Poetic in its phrasing, the man can swing a great tale and feels his way through his material – never forcing anything or plugging unnecessary parts in just for effect. Closing out the short warm-up set for Old Crow Medicine Show with his Sleeping Patterns live staples: The Publican’s Daughter, War Rages On and I Could Die Looking At You, this has been yet another shining example of the talent Jordie Lane possesses. ” Faster Louder April 5th 2010 – Support for Old Crow Medicine Show
“Fortunately Jordie Lane had something different in store, beginning with a brooding folk rock lament in When There Once Was A Life To Come. Refreshingly The Publicans Daughter played out as a jaunty narrative, showcasing Lane’s storytelling craft. Lane and his band stay firmly within the genres of folk, country and blues, providing enough variety to maintain a crowd’s attention. He comes across loud, clear and confident, combining well with a band well-assured in their skill. Where Downhills Home bored, Lane impressed, in a set that took the elements we had seen and fused them together for a wholly different result. Lane really has a knack for drawing you in, a truly charismatic performer that has you tuned to his music without fail.” Faster Louder February 28th 2010 – Support for The Weakerthans
“Following was Jordie Lane. If the boys from Joe Neptune’s songs all seemed to sound the same, Jordie Lane was here to show them how it was done. With his band in tow, Lane set out to provide a set full of highlights and wonderful songcrafting as well as superb crowd banter. From Hard Luck Lady (“written during a stage of watching late night television”) to The Publicans Daughter (“A cautionary tale from one touring buddy to another”) Lane’s set was never sterile or waning. His way with words (“I don’t know what’ll become of this, but I’m glad I waited til morn to steal her kiss”) and his presence on stage made his set a pleasure to watch.
Highlights included his two song acoustic moment accompanied by guitarist Matt Green (with I Could Die Looking At You sounding wonderful) and the more rocky song later in the set of Dig Straight Through (About a man who decided “he’d get a shovel and dig his way to the other side of the world”).” Faster Louder, January 25th 2010 – Charlie Parr support