by Will Henriksen (@will___h___)
While Renée Reed’s debut album arrives after a flurry of songwriting and stray single releases over the past year, the story of its genesis goes back to her early years. Reed is very open about her upbringing, describing herself as “unselfconsciously Cajun.” Growing up surrounded by Creole musicians and folklorists, she might have been primed to follow in their footsteps. Since then, she has broadened her palette, taking inspiration from a wide range of folk and popular musicians. Her self-titled debut album is a surprising, subtle joy to listen to, showcasing both her roots and a path forward.
It might be tempting to judge these songs and this album, a sort of mosaic of historical jumping-off points, as the sum of Reed’s influences. Opener “Out Loud” is driven by feverish guitar and a melody that brings to mind George Harrison’s early spiritual odes. “I Saw a Ghost” strikes the type of jazz-folk hybrid Angel Olsen has occasionally hinted at. These references ought to come with a warning: a game of “spot the style” won’t reveal the world of twists and turns and careful composition that are uniquely Reed’s. Sure, “Neboj” starts out with a spot-on impression of Elliott Smith’s guitar style circa Either/Or, and Reed’s languid vocals don’t stray far from Smith’s melodic sense, but all of a sudden, the chorus snaps the listener to attention. Her voice suddenly slides and jumps to new heights. It’s electrifying - the kind of folk song that’s less “coffee shop” and more “deep listening under the stars.”
The album’s variety is another strong suit. Two songs sung in French introduce a range of instrumental colors, between the layered keyboards and conspicuous absence of guitar on “Où est la fée,” and the playful drum machine and fiddle on “Drunken Widow’s Waltz.” Persistent vocal harmonies throughout “Little Flower Dance” seem to lend additional weight to its mostly cyclical structure. Yet in other cases, such as highlight “The Ash,” Reed’s songs forgo variation and zoom in on distinctive, consistent style of spectral folk. It’s not easy to balance stylistic diversity with a clear musical voice. With one foot in the past and another constantly on the move, Renée Reed is already showing that she’s a winner.