N E W R E L E A S E
Diving For Light
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Diving For Light is a distillation of many of my influences, all coming together during a year of quarantine and quiet. While participating in an online elemental workshop and in :"Fire," I wrote a song every day for 30 days. These are the seven songs that wanted to come to life now. They make up my new release Diving for Light, which I am thrilled to share with you.
Matthew Wentz, of Zack Mexico, produced, arranged and mixed all of the music and is an absolute delight to work with. He coordinated the musicians: Ed Tupper, upright bass; Josh Martier, drums/percussion; Dan Martier, drums; Santosh Sharma, tenor sax; Dylan Hayes, keys and Lindsey Dilworth, background vocals. This music opened a portal straight to my creative heart and I am so grateful to be able to express myself in this way and to share it with you. Thank you - I hope you enjoy it. You can listen to and download Diving For Light now on Bandcamp. It will also be released on all digital streaming platforms, CDs and vinyl. |
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Reviews
Words from Harry Harrison, Lead singer/songwriter/guitarist for the Tills, The Hound Dogs Family Band, The Yacht Dogs, and The Billy Clams. Contributor to Sweet Boys. Guitarist for Peppermint.
When I was asked to write the liner notes for this album, I responded within minutes after what seemed like an eternity of deliberation. For one I had not yet heard the finished product, and only had a faint idea of what to expect. But the real splinter in my mind was whether I was even qualified to speak on the work of a person I admire so much and regard so highly. How can I assess this project objectively? There is a finite amount of space for liner notes, so I decided finally that I would do my best not to mention how personally inspiring the people behind this collection of songs are, and focus on my first impressions of the quality of the work, from start to finish.
I was in producer Matt Wentz’s minivan on the OBX, hanging out in the parking lot of the Thai Room (greatest restaurant) in the dead heat of Covid’s first summer when Dr. Wentz asked me if I would like to hear some material Laura Martier had given for him to produce. My ears pricked up. I already knew that songs pour out of Laura Martier naturally. She channels. Period. Even her everyday speaking patterns are oddly lyrical and composed. I was excited to hear a concise selection.
We listened in the minivan, speakers blaring, as is customary. They were simple recordings, some from a phone, some from social media videos. The quality of the music was trance-like, somehow primitive, and ethereal all at once, with an almost improvisational vocal styling.
As for lyrics, it is important to note that Laura Martier is a writer, and like all great writers, she gets to the point. The lyrics I heard in the parking lot of the Thai Room were remarkable in their openness, honesty, and vulnerability. Pure expression. I was so moved and impressed by these qualities, that as each song progressed, I wondered more and more whether Dr. Wentz should perhaps call it a day and leave these gems untouched in all their stark, naked beauty. I am serious. These demos were clear, moving, and flabbergasting in their effortlessness. “Leave them stripped down,” I thought, “Like the lyrical themes throughout. The Elements! Fire and water. Light and dark. Heart and spirit.” I honestly feared for the purity and beauty of Laura Martier’s vision. I did not want the intimacy of those demos to be lost in the distractions of a glossy full-band production.
I am happy to report I was dead wrong. What I witnessed in the following weeks at the Murder Hole (a secret recording studio in the swampiest nether regions of Kitty Hawk) was a merry and enthusiastic parade of some of the most profoundly interesting and talented musicians I have ever had the pleasure of witnessing. Just check the credits. The collection of straightforward acoustic mantras I suspected could not be improved upon was growing into an all-out psychedelic freak fest. A total celebration of the best of the best of the best artists and musicians all totally focused on a singular vision. Laura’s vision. Trust me when you read the following text: When it is Laura Martier, you get the best, and if you happen to be the best, you bring your best. I grew even more anxious and eager to hear how it would all come together. Double drums? Saxophone? Synths? Backup singers? Grand pianos? Standup bass? And on and on and on.
That was the summer of 2020. Now it is January 14, 2021, 6:50 PM. I got the finished songs an hour ago. I am listening to the album as I type. I am relistening to Amazing Woman, the second track. There is a spoken-word break toward the end. A bold passage for an equally daring approach, and a difficult move to deliver convincingly. This was not in the demos. My hair just stood up. She convinced. Another testament to Laura’s skill as a true-blue artist of unfettered passion.
Take me to church. I see it all so clearly now. All the stark beauty of Laura’s stunning demos which I feared might be lost in such an extravagant production has only been emboldened, uplifted, and magnified. This album is a celebration of art and expression. Music and musicians. Art and artists. Creating. Playing. Performing. Delivering. The organ is swirling, the backing vocals are swaying, the drums are undulating, the sax intermittently speaks in tongues, and Laura sounds like she is leading the above-mentioned merry parade of psychedelic spirits from the clouds, down through my headphones and into my skull. Yes. Yes. Yes (as the backing vocals declare) The album delivers from start to finish.
I cannot count how many times I have enjoyed rewinding specific moments in each track to catch the knowing glimpses of clarity, transparency, and clever delivery unique to this collection of songs. I am still listening. I am still rewinding. I am still drooling. The best way I can find to transfer my honest experience is by reiterating the following fact: When it is Laura Martier, you get the best. That is exactly what we get here. What else would you expect?
When I was asked to write the liner notes for this album, I responded within minutes after what seemed like an eternity of deliberation. For one I had not yet heard the finished product, and only had a faint idea of what to expect. But the real splinter in my mind was whether I was even qualified to speak on the work of a person I admire so much and regard so highly. How can I assess this project objectively? There is a finite amount of space for liner notes, so I decided finally that I would do my best not to mention how personally inspiring the people behind this collection of songs are, and focus on my first impressions of the quality of the work, from start to finish.
I was in producer Matt Wentz’s minivan on the OBX, hanging out in the parking lot of the Thai Room (greatest restaurant) in the dead heat of Covid’s first summer when Dr. Wentz asked me if I would like to hear some material Laura Martier had given for him to produce. My ears pricked up. I already knew that songs pour out of Laura Martier naturally. She channels. Period. Even her everyday speaking patterns are oddly lyrical and composed. I was excited to hear a concise selection.
We listened in the minivan, speakers blaring, as is customary. They were simple recordings, some from a phone, some from social media videos. The quality of the music was trance-like, somehow primitive, and ethereal all at once, with an almost improvisational vocal styling.
As for lyrics, it is important to note that Laura Martier is a writer, and like all great writers, she gets to the point. The lyrics I heard in the parking lot of the Thai Room were remarkable in their openness, honesty, and vulnerability. Pure expression. I was so moved and impressed by these qualities, that as each song progressed, I wondered more and more whether Dr. Wentz should perhaps call it a day and leave these gems untouched in all their stark, naked beauty. I am serious. These demos were clear, moving, and flabbergasting in their effortlessness. “Leave them stripped down,” I thought, “Like the lyrical themes throughout. The Elements! Fire and water. Light and dark. Heart and spirit.” I honestly feared for the purity and beauty of Laura Martier’s vision. I did not want the intimacy of those demos to be lost in the distractions of a glossy full-band production.
I am happy to report I was dead wrong. What I witnessed in the following weeks at the Murder Hole (a secret recording studio in the swampiest nether regions of Kitty Hawk) was a merry and enthusiastic parade of some of the most profoundly interesting and talented musicians I have ever had the pleasure of witnessing. Just check the credits. The collection of straightforward acoustic mantras I suspected could not be improved upon was growing into an all-out psychedelic freak fest. A total celebration of the best of the best of the best artists and musicians all totally focused on a singular vision. Laura’s vision. Trust me when you read the following text: When it is Laura Martier, you get the best, and if you happen to be the best, you bring your best. I grew even more anxious and eager to hear how it would all come together. Double drums? Saxophone? Synths? Backup singers? Grand pianos? Standup bass? And on and on and on.
That was the summer of 2020. Now it is January 14, 2021, 6:50 PM. I got the finished songs an hour ago. I am listening to the album as I type. I am relistening to Amazing Woman, the second track. There is a spoken-word break toward the end. A bold passage for an equally daring approach, and a difficult move to deliver convincingly. This was not in the demos. My hair just stood up. She convinced. Another testament to Laura’s skill as a true-blue artist of unfettered passion.
Take me to church. I see it all so clearly now. All the stark beauty of Laura’s stunning demos which I feared might be lost in such an extravagant production has only been emboldened, uplifted, and magnified. This album is a celebration of art and expression. Music and musicians. Art and artists. Creating. Playing. Performing. Delivering. The organ is swirling, the backing vocals are swaying, the drums are undulating, the sax intermittently speaks in tongues, and Laura sounds like she is leading the above-mentioned merry parade of psychedelic spirits from the clouds, down through my headphones and into my skull. Yes. Yes. Yes (as the backing vocals declare) The album delivers from start to finish.
I cannot count how many times I have enjoyed rewinding specific moments in each track to catch the knowing glimpses of clarity, transparency, and clever delivery unique to this collection of songs. I am still listening. I am still rewinding. I am still drooling. The best way I can find to transfer my honest experience is by reiterating the following fact: When it is Laura Martier, you get the best. That is exactly what we get here. What else would you expect?
