Beanpole. Georgia Knight

Something odd happens at the beginning of Beanpole. A radio being tuned across the dial can be heard, with stations fading in and out fast. Does it still work like that in the digital transmission age? It brings me back to my early youth and the cat's eye on old radios belonging to my grandparent's generation. But, also to 'Searching For The Young Soul Rebels', Dexys Midnight Runners' debut album. The band made a statement with it, as Kevin Rowland said when the radio faded out, "for God's sake burn it down" after which the northern soul exploration and revival began.

Georgia Knight's statement is so much more subtle. No noise, no excitement, just a woman with soft songs composed on an autoharp and extra instruments added when needed, but all in a slow motion setting. Making her statement just as impressive by the way. It just takes a little more effort to get it.

Knight is from Melbourne, Australia, but came to me personally by way of New Zealand. This in my ears perfectly makes sense as her music fits right in with NZ artists like Vera Ellen and even Aldous Harding. From slow and fairly bare songs something big can grow. And yes, she does add some pepper in some of the songs, like in the single 'Mingle', that was her debut on WoNoBlog, just like the mentioned colleagues can.

Hearing it again in the album setting, it stands out immediately because of the drum part, the loud synth and the rhythm that keeps chugging along. Because of the way of singing, the link to Georgia Knight's living or bedroom where she composed the songs is evident. The combination of the two settings makes 'Mingle' the most mysterious track on Beanpole. Again, I'm totally caught off guard by it. In 'Rockabilly' things even get louder, with a drumpart that reminds me of the way G. Love and Special Sauce spiked its folk songs in something hip hop inspired, circa 1994 (did we have trip hop then?). For a short time, it got a lot of attention.

The change from the soft to the louder is a little controversial. Listening to the first three songs brings other expectations in the mind of the listeners. For myself, I notice that I love the change, surprising though it is. Georgia Knight has these two sides inside herself and wants both to show, the soft and the loud.

Photo: Laura May Grogan

Another amazing fact is that this album lay on the shelf for two years, which even by the standards of these modern record releasing days is long. A year appears perfectly normal. Compared that to the weeks in which new singles were released in the days of the Beatles and the Stones. Why, I ask myself?, but is not for me to judge on.

Georgia Knight went into the studio with Andrew ‘Idge’ Hehir. When they were ready, they brought in several musicians, Nick Finch, Holly Thomas (Quivers), Rosie Noyes, Dan Luscombe, Joe Orton, Jethro Pickett and even more the bio says. Together they made Beanpole come alive in a grand way.

Near the end, the album winds down again. First the hybrid track 'Not Bad At All', to end with the impressive 'Cut You Loose', that swells like waves on the beach, to recede once again.

With Beanpole, Georgia Knight has released an album ripe for the end of year lists. You'll have to be patient a few more weeks for that one though.

Wout de Natris - van der Borght 

 

You can listen to and order Beanpole here: 

https://georgiaknight.bandcamp.com/album/beanpole