Album Review: Highways

/* Style Definitions */ table.MsoNormalTable mso-style-name:”Table Normal”; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-priority:99; mso-style-parent:””; mso-padding-alt:0cm 5.4pt 0cm 5.4pt; mso-para-margin:0cm; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:12.0pt; font-family:Cambria; mso-ascii-font-family:Cambria; mso-ascii-theme-font:minor-latin; mso-hansi-font-family:Cambria; mso-hansi-theme-font:minor-latin;

Bruno Merz is a soothing, folk singer/songwriter from the Waikato, where his debut album Highways was recorded.

Opening with the title-named Highways a brilliant ukulele-based piece that evokes comparisons to both Josh Pyke and Sufjan Stevens – most specifically in the layered vocal build ups and the chorus, the album overall, has very apparent folk-pop sensibilities -similar to Avalanche City, as well as moments of warm, almost complacent vocalisation – in the vein of Justin Vernon.

Emmeline is an enrapturing piece, mellow and pacifying in a way that not many songs manage to be these days. The vocals verge on whispering, and Merz’s voice almost breaks with the softness of the delivery.

Each song flows fluidly into the next and yet manages to differ and contrast  to the pieces before and after in a way that shouldn’t work, yet somehow manages to. There is a cohesiveness to the overall sound that supersedes the distinct differences of each song.

Into the Air feels dark in a way that is hard to distinguish exactly – but the piece is hauntingly beautiful and my pick as a favourite.

Passing feels almost child-like as a piece and is a necessary reprieve after Into the Air. The under-layered female vocals also give a beautiful lilt, and lift the song exquisitely.

An elegant, beautiful and intimate collection of pieces.