Having thoroughly drenched the appetites of musical aficionados with her debut album Some Were Meant For Sea the artist known as Tiny Ruins rightly accepted her place in the annuls of musical legacies of legend; critical acclaim and audience ovation surged hand in hand with accolades of the industry, and a nomination for the Taite Prize crowning the albums reception nicely it is with some eager anticipation I press Play on the ole ‘Pod to partake of her latest release, Brightly Painted One .
Immediately the expanse of sound is noticed as a richer, more verdant expulsion of texture and layers, the addition of drummer Alex Freer and Cass Basil on bass creating a far deeper resonance of emotional aural landscaping.
Though still holding the baton as conductor of the composition artisan extraordinaire Hollie Fullbrook draws on the strengths extra musicians bring to capture what feels like the essence of the tone, the feel of the lyric, the enui of insight drawn from an observers experience.
Such experience no doubt gleaned from the touring fans of her first album demanded, and now armed with a dearth of new followers her insights are even more detailed and precise, revelations of songs more than simple tunes of an engaging nature.
Like a traveling troubadour regaling her audience with the many secrets of the soul witnessed first hand Hollie captures the delicate balance between the cautious and the certain, informed yet intimate in expression and drawing you to her smokey-toned tales of She’ll Be Coming ‘Round and Night Owl with a curio’s charm of leading your attentive ears through the enveloping morasses gently folding you into her world.
Reasonable Man brings a hopefulness in the drive for that missing half of ourselves found within that perfect ‘One’, delivering the senses endured when trusting that ‘One’ with the delicate fragility of your heart.
And as if balancing the cosmic scales with Carriages we hear a heart-breaking release of haunting familiarity that anyone with even the briefest claims pertaining to humanity will be hard pressed to not force a tear or two back, Hollie’s voice taking the song through the inner walls and defenses we build to protect ourselves from hurt and straight to the very center of your being.
Like an icy finger down your spine as soothing words are coaxed in your ear there’s a juxtaposition of comforting uncertainty, of things being less than perfect but none the worse for it. Though beginning the album as a passive listener to opening number Me At The Museum You In The Wintergardens it’s in the position of participant in the events being told we find ourselves in when album closer White Sheet Lightning draws the experience to an end, releases you from the dichotomy of somehow being right there in the song whilst having never left your iPod, to awaken from the imagineering of Tiny Ruins a richer, more fulfilled person.
Five out of Five Stars