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Aisha Burns is a talented violinist and singer. She has had stints in Alex Dupree and The Trapdoor Band and instrumental band Balmorhea. She released her debut album, Life In The Midwater, in 2013 to great acclaim. With her new album, Argonauta, she found a cathartic outlet in her ethereal and delicate songs as she grieved the death of her mother, but it was also tempered with hope as she found herself in a burgeoning relationship.

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  • CD £11.49
  • In stock / Ships in 1 working day ?
  • Shipping cost: £1.00 ?
  • NormanPoints: 115 ?
  • WV173CD / CD on Western Vinyl
  • Only 2 copies left

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  • LP £17.99
  • Not in stock / Usually ships in 2-3 days ?
  • Shipping cost: £3.15 ?
  • NormanPoints: 180 ?
  • WV173LP / LP on Western Vinyl
  • Includes download code

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Argonauta by Aisha Burns
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8/10 Robin Staff review, 30 May 2018

‘Argonauta’ is a big sound, but it should be. Embracing music as the catharsis she needed to express the loss of her mother and the experience of a new love, Aisha Burns found herself making a record of terrestrially felt rock music, the kind that intimates the mix-up of tragedy and respite, putting rain and sunshine together like two numbers of the same value.

Hearing these songs housed in the production Burns’ has chosen for them is quite something. There’s an endless sea for her backing vocals to swim through, and her guitars ring out with ripples of reverb; the distance she’s given makes sense, bolding these songs and giving them the kind of gravitas they’re singing into existence. You can hear her vocals sticking in the air on “Must Be A Way”, not reaching a cadence so much as they are becoming invisible specks of air she can walk into the future with. The songs are simple -- this one a simple, strummed folk song lilting into a a violin fanfare -- but they feel vast and historic in this context.

Burns is also a fantastic songwriter worthy of folk rock’s old evocative traditions: these songs focus on going bigger, speaking louder, feeling something more fantastical. The metallic picking of “Would You Come To Me” is mixed with a dramatic, hypnotic and world-forgetting ending of strings suspended in mid air and synth that sounds like it was of an old, never realised future. It’s a mythical kind of pastoral she plays with, and cast in this wide open world, it sounds full of endless hope and potential.



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