Posts Tagged ‘Bad Paintings’

Bad Paintings – 16th December 2020

Christopher Nosnibor

It’s perhaps fitting that elkyn should wrap up the year with a Christmas single. Bleak as the year has been for so many, it’s been an interesting and evolutionary year for the shy and retiring Leeds-based artist, 22-year-old songwriter and multi-instrumentalist Joseph Donnelly.

2019 saw Donelley tour the UK with 60’s LA legends LOVE featuring Johnny Echols, as well as playing shows with Katie Malco, Rozi Plain, S.T. Manville, Molly Linen and Mark Peters. 2020 put a halt on touring, and pushed him back into quiet retreat, and it seems that creatively, it’s proven remarkably beneficial.

Transitioning from elk to elkyn following the release of his debut ‘beech’ EP, and after a spell of silence, he returned with a slew of new material that’s as breathtakingly delicate and understated as you could conceive, beginning with a beech remixes ep and the single ‘if only it was alright now’.

How does covering a Coldplay track sit in the scheme of things? After all, they do epitomise the mainstream preference for the blandest, most diluted, tepid, fare going, the musical equivalent of instant decaff.

With chiming bells and dulcimers and soft washes of synth, this rendition certainly sounds and feels like a Christmas single, but with softly picked acoustic guitar and Donelley’s quite distinctive vocals that are imbued with a sunny 60s pop vibe, it doesn’t feet like Coldplay either. With a bold drum rolling in like thunder and a cinematic production, it’s well executed and makes for a fitting bookend to an outstanding year for elkyn.

Bad Paintings – 28th June 2019

Christopher Nosnibor

My introduction to Elk came a couple of months ago, when I accepted the invitation to see US touring artist Dylan Rodrigue and travelling companion Sie Sie Benhoff playing a few streets from my house. How could I refuse? I wasn’t disappointed by any of the acts, but that night, Elk were a revelation.

Elk is essentially the project of 21-year old Leeds based multi-instrumentalist Joey Donnelly. According to the accompanying text, his brooding and beguiling work on debut album Beech marries up the sound of Daudi Matsiko, Florist and Talons with the lyrical depth of Phoebe Bridgers. Being unfamiliar with any of these – and pardon my existence in a cultural vacuum – I’m judging Elk in isolation and on their own merit. This doesn’t seem such a terrible strategy. Elk’s music emerges from isolation, but also a place of otherness.

Live, Elk is Joey with his brother, Mikey, and it’s Mikey who’s the mouth and the presence, the chirp and the banter. Joey is practically mute, almost embarrassed. He’s the very epitome of shy and retiring. This comes through in his music, too. And such beautiful music it is, too. Words almost fail. In my review of that live show, I drew comparisons to Sigur Ros and commented on Elk’s ethereal post-rock leanings. They’re in evidence here, too, but it’s perhaps important to also note that Elk don’t share the twee, ersatz fable-like trappings of the Icelandic precursors. Yes, it’s fragile, folksy, post-rock, but it’s very much distinctive and affecting without being affected.

Beech contains just seven tracks, and is spare and concise in every way: the arrangements are minimal and uncluttered, with room to breathe in these inward-facing sonic spaces. These are songs that send shivers down the spine, and yet it’s incredibly difficult to articulate the precise source of their effect – which is of course precisely the key. The best music just creeps up on you, reaches in and touches the innermost parts by subliminal, subconscious routes. The fact the music of Elk is so understated is integral to its emotive power. ‘Stupid World’ begins as a simple acoustic composition, with Joey’s plaintive voice hinting at Neil Young and J Mascis, as much in its sad introspection as anything.

It’s quiet, hushed, the very definition of introspective. And it’s truly beautiful.

AA

Elk - Beech