Jordan Reyne | Bardo

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Bardo

by Jordan Reyne

From an artist described by Prog Magazine as a "Force of Nature," comes a set of gritty tales from between the worlds. With the edgyness of Etheridge, the melodic force of Sinead Oconnor, a new, dark magic plays out in full force.
Genre: Folk: Folk-Rock
Release Date: 

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  Song Share Time Download
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1. Exiter
5:19 $0.99
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2. Then They Came for You
5:49 $0.99
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3. Fuge State
4:54 $0.99
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4. Black Tulip
4:22 $0.99
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5. Lullabies
7:03 $0.99
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6. Hunger
6:35 $0.99
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7. First Born Son
5:11 $0.99
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8. Bridge to Tarabitha
3:51 $0.99
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9. Shadow
3:32 $0.99
Downloads are available as MP3-320 files.

ABOUT THIS ALBUM


Album Notes
"[A] remarkable talent.. in a category all of her own. She's a force of nature" Prog Magazine (UK)

"It is hard to categorise music this original - PJ Harey springs to mind, but the style is 100% Jordan's... Her vocals are astounding".The Mix (UK)

“One can hear the centuries of tradition in her banshee-like vocals... Not only is this music hip, it is really very good.” - Dig this Real (USA)

“Bardo” is the latest album from Resident Evil 7 vocalist, Jordan Reyne, whose voice has been heard by over 6 million people worldwide.

Reyne’s work is not without it’s element of the unnerving. Haunting, celtic melodies combined with eerie factory sounds, rock guitar and tribal drums are a signiature of Reyne’s award nominated style, but the concept of “Bardo” itself adds another layer to this album. Bardo is a state between death and rebirth, characterised by frightening hallucinations connected to ones past that must be processed before one can be born into the next life.

The New Zealand born musician exited the music business in 2016, a “death” she describes as “purging the influence, expectations, and ideals of an ill industry, as well as of my own past.” Bardo marks her “return to music, minus the industry part,” she explains. “I am doing this for my listeners, because they are great, and for myself, because I will stick to the parts I enjoy.”

Known for adopting various “characters” on stage, male, female, and gender non-specific, Reyne confronts more of her own deamons on this album than any previous work.

“My experiences, unfortunately, are not unique,” she explains “So I couch them as folk-lore like I do with any other theme that is part of being human. My hope is that bringing such experiences to light helps others feel less alone with their stories. There are so many things we are unable to discuss openly, because the narratives around them are so powerful. The mother’s-love myth, for example. Anyone suggesting mothers do not automatically love their children is met with the kind of expressions you’d see if you had murdered someones cat, and instant, heated protests to the contrary. It’s a Great Unmentionable that renders people all the more alone for not being able to talk about it. It’s important to make counter-narratives to such things, just as we made counter-narratives to the ones suggesting only men can be clever and discover things, or that white people “civilize” the world. It is through being able to acknowledge such things that we can deal with them, and then move on.”

Jordan Reyne regularly tours Europe, and currently resides in London. She has performed with aritists such as Feilds of the Nephilim, Laibach, White Zombie and The Damned, and has appeared major festivals including Glastonbury (UK), The Big Day Out (New Zealand), Whitby Gothic Weekend (UK), Wave Gothic Treffen (Germany), NAMM (USA), City of Women (Slovenia), Frankfurt Music Messe (Germany) and The New Zealand International Festival of the Arts.

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