I first brushed up against Sister Ray Davies when their debut single ‘War Machine (The Purpose Of A System Is What It Does)’ crossed my path. I didn’t manage to snag a copy on vinyl which still stings every time I think about it. I did play it on my DKFM show though and that was enough to plant the seed that this duo were onto something special. So, when the album, Holy Island, arrived, I went in curious. A debut from a pair of Americans making a concept record about a tiny religious outpost off the northeast coast of England is not something you see every week.
Sister Ray Davies are Adam Morrow and Jamie Sego. Two musicians working in the famed recording capital of Muscle Shoals, surrounded by the Tennessee River and the long shadows of soul history, yet dreaming of wind battered monasteries and ancient stones. They tracked the record in the old Muscle Shoals Sound studio, now Portside Sound, with that studio’s warmth humming beneath everything.
Morrow has talked about how the story of Lindisfarne helped them unravel their own thoughts about the world today.
“The story of Lindisfarne gave us a framework for what were otherwise very abstract ideas and emotions, it became a way to make sense of our own moment in history.“
“We really want our lives and societies to always get better, and to be left alone to make that happen. But we are stuck in these cycles of progress and regression, and I think most people are really driven to make sense of it and assign meaning.”
Let’s drop the needle and see where our thoughts carry us.
‘Lindisfarne’ opens the album and instantly we’re transported. The sounds of a roaring campfire and the waves lapping on the beach welcome us into their world. It’s a gentle and calm welcome; no hurry is taken to introduce all elements of their sound. Instead, we get a hypnotic mantra like vocal against a minimal guitar and synth pattern. Superbly confident and gets us in the right frame of mind for the journey ahead.
We head from one holy isle to another next with ‘Iona’. Now we hear the full extent of the bands sound. Driving drums and an insistent acoustic guitar strum power this track. Almost motorik in its approach the mournful lead guitar almost fights against the forward motion and is always subsumed by the sheer energy of the backing.
‘Aidan’ brings in backing vocals from Natalie Morrow which adds a lovely lift to the track. Her voice works like a soft colour wash against the fuzzier edge of the guitars. It continues the musical theme of ‘Iona’ but brings in a tremolo effect to take us off in new direction. I love the break down passages where the track suddenly opens up and a gently plucked guitar takes over, ever so momentarily.
Up next ‘Big Ships’ carries a more direct energy. The hook sticks with you right away. Guitars chime, fuzz bass rumbles underneath, and everything clicks. It has that knack the best shoegaze pop moments have. A sense that the song is moving forward even when it feels suspended in place. One of the clear highlights of an already outstanding record.
The title track ‘Holy Island’ appears like a tiny interlude, a short tone poem that acts as a small doorway into the next phase of the record. These little touches always charm me. They show a band thinking about pacing and about how a record feels as a whole.
‘Rowans’ comes in with a looser stride. This song has a swagger that’s undeniable. It’s uplifting and joyous throwing off the weight of the day and running barefoot across the sand. If I had to pick a favourite song from the album, and it would be a really tight decision, this would be it. It makes me smile every time I hear it.
‘Nave’ is short and inward looking. A reflective moment that clears the air. Synths shake the air while gentle guitar lines linger for the moment then vanish. It works like a reset before the final stretch.
That reset comes with a bang as ‘Cloisters’ kicks in. A euphoric instrumental that blooms from a pulsating synth piece into a cosmic space jam that will have you punching the air. This song is built for the big stages and if these guys play any festivals I guarantee it will get feet moving.
‘Morning Bell’ closes the album with the fullest emotional reach. The build is is slow and steady. The band take their time, letting guitars swell then settle, leaning into a patient rise that rewards you every time. Its moody but never maudlin. Dark without being depressing. It’s like night falling on the beach with the sound of the abbey bell bidding us farewell. A beautiful closer.
Holy Island is a rare debut. Thoughtful, melodic and full of intent without ever becoming heavy handed. The lads have built something that feels as if it has always existed. You sense the fun they had making it and the meaning they found inside it. I really struggled to find musical parallels to help you understand who they are and the noise they make. I can only think of the Beachy Head project for a couple of the songs. Other than that, this is very much its own thing and if you let it, it might very well become yours too.
Holy Island is out now via Sonic Cathedral and Well Kept Secret. You can check it out over on the Sister Ray Davies Bandcamp page.
You can follow Sister Ray Davies on social media here…
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