by Brett Abrahamsen
It might not be hyperbole to claim that Nina Nastasia’s Seaside Recordings is her own “Blind Willie McTell.” It is difficult to fathom how this wistfully evocative collection never saw the light of day: it’s a haunting and sepulchral collection, full of poignancy and anguish.
Opening track “Underground” is imbued with sadness and loss, yet features one of her most beguiling vocal melodies. “How Will You Love Me” is more conventional, but still pleasant. The darker “A Kind of Courage” highlights the ominous violin of Matthew Szemela. This is Nastasia at her most unnerving. “RoseMary” is an excellent Leonard Cohen imitation. “In The Graveyard” is fittingly somber; Szemela’s violin towards the end recalls Warren Ellis, and “The Very Next Day” follows in a similar vein. “Where We Go” is another melodic highlight, again with some impressive violin playing, though the violin work on “You Can Take Your Time” is possibly even better. “Outlaster” makes for a mournful finale, with the violin again recalls the Dirty Three (hardly surprising, considering Nastasia’s occasional involvement with Jim White).
The album, despite its merits, has flaws. For one, the piano playing is a bit bland and uninspiring, if pleasant. Second, “Outlaster,” “How Will You Love Me,” “The Very Next Day,” and “You Can Take Your Time” are clearly weaker than the other tracks, despite the elegiac violin work on the latter. One also wishes Steve Albini were involved; he perhaps would have reigned in some of the more muzak-like instrumental sections. Finally, some of these tracks were previously released elsewhere (though most of the better ones were not).
Despite the flaws, Seaside Recordings has much to commend. Nastasia portrays someone afflicted by an unfathomable loss, yet her approach is one of stoic composure. Szemela’s violin continually impresses (though the lachrymose piano is not necessarily the best accompaniment for it). Nastasia’s work always exudes a solemn profundity, and this album is an excellent example of that. Her work somewhat recalls Low, in that sense: deceptively simple, yet haunting and mesmerizing. This album is well worth checking out, even for those disappointed by its heavily arranged sister album, Outlaster: this is Nastasia at her most quietly intense.