Simplicity begins in the title and then stamps its mark right across the new album from Mary Elizabeth Remington. Fans of American roots music will have many artists of a folk ilk in their appreciation gallery, but will have to make room for one more when the raw sounds of this Massachusetts-raised native penetrate the listening sphere. IN EMBUDO emboldens the spirit of being at the birth of new music. This album evokes vibes of being made right in front of you. The freshness and 'in the moment' feel remains intact regardless to how many times you replay the experience.
Quite simply. Embudo New Mexico was the place where this album was recorded. Therefore no finer straightforward title could adorn an album. Modern recording methods have been cast aside with the single take syndrome owning the moment from the instant the play button was pressed. Mary Elizabeth Remington owns the voice to steal this moment. She also fine tunes songwriting skills road tested at the legendary Kerrville Folk Festival to set up eleven songs aching to be dealt this call to record.
Occasionally, UK based label Loose Music veer away from their folk-rock staple to present something off-piste and stunningly different. Harnessing the folk-Americana brilliance of Courtney Marie Andrews remains one of their finest feats. Presenting the music of Mary Elizabeth Remington is one of the deepest dives fathomable. Initially it will stop a listener in their tracks to assess. Several listens later a bought-in fan will surface.
The unedited count in to opening track 'All Words' sets a precedent dutifully followed. A distinct crackle to pre-released song 'Dresser Hill' takes you back a century in a single span. Come to think of it, a double century wouldn't be adrift. By the time third track 'Mary Mary' intoxicates with its a cappella sheen, mid song cackle and scratchy end, you are left wandering where else this album can take you. A soft beat leads you into 'Fire'. By now the deep and hollowed vocals of Remington start to take effect framing each lyric primed for listener intent. 'Green Grass' gets the most succinct intro before sucking the listener into a round the campfire experience. Once again no instruments are required. A voice now ingrained in the process is sufficient. 'Holdfast' holds the album's middle ground with a hypnotic beat, organic of course, leading into a slightly haunting sounding song.
The second half sees Remington exhale a more typical rural American brogue in the simply titled 'Tuesday'. At this point flashes of Gillian Welch come to mind. Although it may be said, why it took it so long to convey the association. 'Mother' gets another trademark single word intro and sees Remington take a deeper dive into a primal existence. Perhaps the subject of the title draws more from her and the mode she slips into takes 'back to basics' down to a real base level. Once again no instrument required as 'we all feel one' is repeated at the close. 'Wind Wind' heads the final trio. This time a subtle spate of twang graces the opening before the usual substance of deeply sourced vocals takes things in a mellower direction. The penultimate track 'Water Song' adds in authentic effect and an outdoor feel. By now being totally immersed in the music of Mary Elizabeth Remington is non-negotiable. There is a touch of spirituality to this song. 'Wooden Roads' is a final slice of unedited intro before instigating some careful strumming. Acoustic of course, electric wouldn't have been invented at the implied inception of this record.
IN EMBUDO is an album glowing with a refined stripped back experience. It re-defines beauty and ripens for a beholder agile to bend with its idiosyncrasies. Mary Elizabeth Remington hits a raw note on this record and a polished gem will head into the collection of many.
