Clare Bowditch
Country of origin:
Australia
Type of music generally:
Folky alternative pop
Status:
Most recent release, The Winter I Chose Happiness (2012)
See also:
Clare Bowditch's site
Comparisons:
Ane Brun, early Jane Siberry
Covers/own material:
Own
General comments:
I think she sounds quite like Jane Siberry at times, at other times completely reminds me of (sadly missed) Shelby Starner. Definitely worth checking out! (Sherlyn.Koo)
Recommended first album:
Autumn Bone or The Moon Looked On
Recordings:
As Clare Bowditch and the Feeding Set
- Human Being (EP, 2003)
- Monday Comes (EP, 2003)
- Autumn Bone (2004)
- Which Way to Go (EP, 2004)
- Divorcee by 23 (EP, 2005)
- On This Side (EP, 2005)
- What Was Left (2005)
- The Moon Looked On (2007)
As Clare Bowditch and the New Slang
- Modern Day Addiction (2010)
As Clare Bowditch
- Are You Ready Yet? (2011)
- The Winter I Chose Happiness (2012)
Autumn Bone
Release info:
2004—CLABOW003
Availability:
Unknown
Ecto priority:
Recommended
Group members:
Clare Bowditch—vocals, acoustic guitar, electric guitar
The Feeding Set:
Libby Chow—French horn
Marty Brown—drums, eletric guitar, singing bowl, banjo, Rhodes, percussion, cello, ceiling fan, violin-zither, pump organ, casio, xylophone/casio, piano, electric guitar, ship bell
J. Walker—erhu, Rhodes, electric guitar, viola, strings sample
Warren Bloomer—bass
Guest artists:
Adrian (Homer) Holmes—
Andrew Crean—harmonica (7)
John Hedigan—special acoustic guitar (8)
Mark Shephard—double bass (1, 5)
Peggy Frew—bass (3, 4, 8, 11)
Peter Cohen—double bass (10)
Produced by:
Martin Brown
Comments:
"Autumn Bone" is remarkable, and sounds like absolutely nothing else around. Very acoustic, but with an almost "vintage" sound in places, french horns and all. Very highly recommended; it's one of those rare Ecto-friendly albums that gets mass plaudits from the music media and results in constantly sold-out live shows. (ahoran@ozemail.com.au)The title track epitomizes the sound that first drew me to Clare Bowditch's music—it's a perfect mixture of minor key energy, haunting and yet lilting. She does that a lot of this album—catchy minor tunes with with tiliting melodies that make my ears perk up. (Neile)
What Was Left
Release info:
2005—Capitol/EMI (Australia)
Availability:
Wide in Australia
Ecto priority:
Recommended
Group members:
Clare Bowditch—guitar, vocals, hand-claps
The Feeding Set:
Warren Bloomer—bass, backing vocals, hand-claps
Marty Brown—drums, saron, Casio, percussion, organ, piano, phantom Vietnamese instrument, string arrangements, pump organ, violin-zither, electric guitar, singing-bowl, banjo, fender rhodes
Libby Chow—French horn, backing vocals, hand-claps
Danny Rogers
Guest artists:
J. Walker—electric guitar (1, 2, 5, 6)
Myfanway Alderson—viola (3, 8, 9)
Peter Cohen—musical saw (12)
Produced by:
Martin W. Brown
Comments:
it's great. (Sherlyn.Koo)My two favourite tracks here are the first, "Starry Picking Night" and "When I Was Five" about a sister who died. Not that the other tracks are bad—they're superior folky/pop, but just a little samey amongst them. (Neile)
The Moon Looked On
Release info:
2007—EMI (Australia)
Availability:
Wide in Australia
Ecto priority:
Recommended
Group members:
Clare Bowditch
The Feeding Set:
Marty Brown—drums, whistles
Warren Bloomer—bass, backing vocals
Libby Chow—Frech horn, backing vocals
Timothy Harvey—electric guitar, backing vocals
Guest artists:
Athonay Atkinson, John Hedigan, Phil Romeril, Paul "Floyd Thursby" Gillet, Boy Harvey—male choir
Ian Collard—harp
Paul WIlliamson—sax
Mick TUrner—special guitar
Alister Barker, Chien-Hsui Wung, Alastair Watts, Caerwen Martin—cello
Zoltan Balazs, Jason Bunn, Andrew Crean, Ceridwen Davies, Stuart Johnson—viola
Produced by:
Marty Brown
Comments:
This one is further along the pop stream than the two previous albums. Fun and lively. I have the version with the accompanying "campfire version" disc—just Clare Bowditch and her guitar—and these really highlight how terrific the songwriting is here. Each song shines. So does her voice. I may actually prefer this disc to the real release for that reason, as with full production of folky pop (admittedly not elaborate here) things can get a little buried, or at least less obvious. (Neile)
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