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Reviews for Rubble

When I stop to imagine an overall scene that fits with Káren Hunter's Rubble , a smoky room comes to mind. A David Lynch kind of room, with red velvet curtains, round tables surrounded by slouching people who are all smoking cigarettes and barman that has a limp and knows everyone in the room. Someone coughs, cats in berets nod knowingly and Káren plays from a poorly lit low-rise stage in the corner.

For those who know Káren's music, no introduction is necessary, for those who don't, think Michelle Shocked, Rickie Lee Jones, or even Sarah Jones of  "your revolution will not happen between these thighs" fame. Think melodic jazz infused female vocals, and stripped back accompaniment that is more country than folk. Think snare shuffles and guitars that meander, most of all think of story telling lyrics introduced by unstrained singing.

Káren has an extensive musical history in New Zealand; she's been on stage as a singer songwriter since the early nineties and has released eight albums in twelve years. Having recently been awarded a Bachelor of Music with Honours, the results of her studious years are obvious in this album. On first listen it's deceptively casual, with the lyrical content being at once humorous and observant. Given another hearing you'll find layers of beguiling complexity, with dedications to a dangerous diva who's got a voice that's worth a fortune, a smattering of scat, some spoken word and a song about flying. This is a mature album and will surely be admired by the mature listener.

www.amplifier.co.nz July 2007

 4 stars

Auckland-based Karen Hunter is a musician whose work I have often admired, but she has also frustrated me. When she opened for Ani DiFranco many moons ago, her passionate set was impressive, but she could have been taken as a loyal copyist – and a sprawling double-album, showing Hunter perform solo and with a band, literally marking out the two sides to her musical personality, certainly contained some highlights, but quality control was questionable. Flash forward, Hunter has slowed her output, she disappeared from the scene slightly, retrained at jazz school and returns with Rubble, a superb set of songs recasting the guitarist and singer/songwriter as a cracked jazz balladeer; backed by hipster-jazz and creating a creepy mood for hushed spoken-word pieces and lazy bar-room blues, it is as if Hunter has unlocked her inner Rickie Lee Jones, tending also to touch on the spirit of Tom Waits (who was of course the single biggest influence on Jones' career both personally and musically). Rubble is a class act of an album – do your best to check it out. It will surprise those that are both longtime fans of Karen Hunter and impress those that had never heard of her.

Simon Sweetman
Dominion Post
May 2007 

 4 1/2 stars

Auckland based singer-songwriter Karen Hunter has gained much respect over the years. The  Private Life of Clowns (1997) was a strong beacon, indicating her songwriting talents. On Rubble, Hunter wears her Tom Waits and Rickie Lee Jones influences on her sleeve, but all the while honing in on her own unique lyrical flow and nifty phrasing approach. It's this wicked combination that creates the scenarios and atmospheres of her songs. The jazzy-folk opener Drunk and Disorderly sets the tone, followed by the uplifting Fight or Flight. Her love of Tom Waits is revealed on Authority, complete with its cacophany of industrial sound. This culminates in the spoken-word brilliance that is Mr Whippy Rides Again. Concerning a school drop-out who spends his time on cars and girls "with lust straining in his jeans" her delivery is cool and illuminating. That she can switch from a dirty jazz-blues rhythm section arrangement to a simple guitar-picking delivery to spoken word reveals Hunter as a major New Zealand talent. From every turn, Rubble is one rough-cut gem of an album.


Steve Scott
Waikato Times
May 2007 

4 stars

Instead of Hunter's longstanding mix of acoustic heartfelt folksy pop, her forth-solo album Rubble is heavily infused with deep dirty jazz and a smidgen of alt-country. A visual comparison could be imagining a worthy performer that always appeared on stage unadorned in jeans and work boots and then made herself over to appear in a sequined slinky dress and heels. This transformation (which has come about after Hunter has spent the last few years in formal study of her craft) has made for a rich languid recording with a beauty and depth that affords timelessness. The standout track is the sophisticated silky voiced ‘Authority' evoking images of performances in a smoky 1930's jazz club. But I think that its songs like ‘Mr. Whippy Rides Again' and ‘Make My Day' where she spins ironic tales of small town kiwi losers which give the recording it's kick and distinct original flavor.

Sharyn Croft - Groove Guide - May 2007

The album bio talks about taking several inspirations and influences, then smashing them together and smoothing them out to make something unique. Hence I guess this album's name, for that's what 'Rubble' is all about. Káren has taken the vision of artists as disparate as Ricki Lee Jones and Tom Waits to help create her pwn personal soundscapes. Already a tremendous talent on vacals and guitars, she has worked hard over the yeas as a songwriter too - 'Rubble' is a stunning and varied set that grows with each listening. Helped by some fine guest players (including the rhythm section of Aaron Coddel and Ron Samsom). Káren has created an intense listening experience. Some of the reed voicings (such as on Authority) sound like US sax master David Sanborn, and her voice is often reminiscent of Ricki Lee Jones at the height of her Chuck.E's in Love fame. The 12 largely jazz/blues tracks were all written, recorded and produced by Káren, mixed ( and partially recorded) by Nicholas Rogan. To me, it's her guitar playing that steals the show, she displays so much scope and taste throughout. This CD is a real treat.

Peter Dent.
Musician Magazine
April/May 2007

 "CALL THE FIRE BRIGADE! Yesterday's acquired taste stalking
the verges of conformity is smouldering. Karen Hunter is the
new bohemian Jones girl, where gloriously vivid Tom Waitsian
narrives 'Mr Whippy Rides Again' and 'Make My Day' rub
shoulders with the jazz trippy 'Drunk and Disorderly', the
torchy 'Kids in the Hall' and smoky 'Oblivion'. 'Rubble' is
almost the album she was born to make."

Mike Alexander
Sunday Star Times
March 2007

The guy who wrote the liner notes for this long overdue album by Auckland singer-songwriter Hunter -- it was me actually -- says he can well remember the first time he saw her perform: it was over 15 years ago and she stood so far outside the self-proscribed parameters that most musicians put on themselves you couldn't help but be stunned.
Hunter rocked from powerchords to soft acoustic balladry, embarked on free-flying spoken word, had a slippery jazz quality, and at other times she sounded like a folk singer.

She was "alt" long before there was "alt", if you know what I mean.

She continued her idiosyncratic path for many years but with little reward or comprehension from critics, then these past few years took time off to study jazz. My guess is she probably could have taught her tutors a thing or two.
The result is this album which is much more musically coherent than her previous outings (do yourself a favour and find The Private Life of Clowns and InsideOutside however), and in places owes more than a little to the early sound of Tom Waits and Rickie Lee Jones.

But those are only the most obvious references and keen ears will hear much more in the emotional depth of these songs. And some strange soundbeds for her lyrics.

Karen Hunter is one of a kind, and this album is further proof of that.

Graham Reid
www.elsewhere.co.nz
accessed on March 2007