Phil Edwards Band

ALBUM REVIEW, PETROS
(slow borders)

What we have here is the peanut slab of New Zealand music; no pretence, just good honest Kiwi music. Unfortunately that leaves out that portion of the audience that are allergic to nuts, but that takes nothing away from Slow Borders. It’s not their fault they can only listen to Death Metal.

It would be impossible to write this review without mentioning the similarity to Jack Johnson. In fact, I’ve already heard Crash on the airwaves and associated it with a new release from Johnson. Whether the similarity is intentional or not, both are successful in capturing the relaxed temperament of the island mindset. In the press release accompanying Slow Borders the band mention John Mayer as one of their main influences and went so far as to hire Dave O’Donnell, who worked with Mayer on his release Continuum, to mix their album.

O’Donnell is not the only international outsider the band brought in to perfect their music. In a considerably unusual move Stirling Sound’s Ryan Smith, who is known for his work with Beyonce, was asked to master the album in New York. While in no way similar to Beyonce the subtle effects of the mastering are the same; it sounds good and you want more.

The implicate cost and wait time associated with hiring such big names were well worth it in terms of the quality of this release. The mix is crisp and warm completing the bright summer feel already created thru the lush guitar tones, jocund harmonica interludes, soulful vocals, hums and deep breaths and the swelling unobtrusive rhythm section. The backing vocals create a subtle luminous ambience that is the paper beneath the kindling of the searing winter fireplace that is Slow Borders.

It couldn’t be released at a better time, as our temperatures fall and our memories of a scorching summer are still fresh in our minds. It’s all you need on a cold winter’s morning while stuck at an intersection in a torrential downpour with a torrent of traffic in between you and your workplace. To explain it in the words of Phil Edwards “It’s so fine... it’s my summertime” (Track One, Crash).

But it’s not all sunshine and double rainbows. Further thru the album we encounter the darker Lit my Fire, an almost emotional discourse on love lost from a protagonist who seems too nonchalant to be that bothered. “You lit my fire, but that was such a long long time ago” (Track Three, Lit my Fire). I love the lyric, “there’s something falling away from my soul, and I think it’s you.” It draws an obscure allusion to the semi-recent space shuttle disaster, where the explosion was thought to be caused by a piece falling away from the shuttle. The intro guitar is like the famous Kiwi bands of yesteryear with a happiness found in the music of the barefoot hippy years. Along with What the World Needs it’s one of the stand out tracks of the release.

Just before Lit my Fire we have Believe, the moody slow jam of the album, a bluesy emotional plea that begs you to cheer up. “Life ain’t so hard if you follow with your heart” (Track Four, Believe). Starting off as a throbbing echo and shortly joined with heart-rending chords, slow drums and long bass notes the solo builds you up from the sadness and brings a feeling of elation. It’s definitely a burning lighter salute moment (I’m doing it while listening) and I’d be disappointed if this didn’t receive any radio play.

My recommendation: Sit back with a few mates with a wine in one hand and talk about happy times while the Phil Edwards band plays quietly on the stereo and enjoy the good vibes it creates.

(ALBUM REVIEW N(slow borders), GARRY STEEL)

A Kiwi band inspired by the sound of John Mayer; surely what we’ve all been waiting for? In fact, they liked Mayer so much, they hired his producer, who mastered the album in New York.
The music has that low-key groove familiar to fans of Jack Johnson, and it has that blue-eyed funk feel of James Taylor when he’s “getting on down” – highly polished, no-sweat white-boy grooves, but grooves nevertheless.
There’s something to be said for Edwards’ control, and the discipline of his six-piece band. These performances are well executed, and he’s left plenty of space in the arrangements, which suggests that he may have spent some time with Little Feat albums in the dim distant past, and taken a few lessons from the low-down shuffles of Lowell George and his crew.
But… and it’s a big ‘but’. You can see from the unimaginative title of the band, and the title of the record (what is a ‘slow border’, exactly?) that there’s a certain lack of spirit and adventure here. It’s totally catholic.
While Slow Borders is nicely recorded, nicely arranged, nicely performed, nicely engineered, and nicely mastered, it induced instant entropy in this listener.