| Sounds Like | "Lilith Lane is the stunning self-titled debut album from the local songstress and member of soon to be Rock Royalty band Black Pony Express. Opening number Til My Dying Day(Johnny and June) announces an exciting new arrival in no uncertain terms and is an absolutely world-class love song, up there with anything I’ve ever heard.
Track three My Cowboy, is dark sexiness personified, as Lane extols the virtues of and explores with great skill the imprecise science of attraction. And I defy any reviewer- male or female- to not rave about a song that has ballsy lines like “I like a man who respects his whore” in it.
Closing number White Girl Dreaming is a gorgeous, pre-Sorry Day apology to Australia’s indigenous inhabitants and for sheer gutsy songwriting, probably has no peer. Certainly not in this country anyway.
Emotive, evocative imagery, such as the sea-bound lovers in Fishing writing letters to their friends on the hulls of passing ships, abound on the record, giving it an ephemeral, dream-like quality to compliment perfectly some of the stompier, more in-your-face numbers.
Lane’s backing band of Peter Luscombe, Bill McDonald and Justin Cusack deserve mention here for their exceptional work, as does whoever it was that was responsible for the CD’s design. As well as being a beautiful record, it is also a pleasure to simply hold. And you can’t download that.
And why would you want to, anyway? Artist’s of Lane’s ilk, criminally undervalued even in as music savvy a town as this, deserve our lousy twenties more than just about anyone else I can think of.
I have no hesitation in naming this the release of the year so far, and the year is more than half over. Not over, thankfully, is the career of this wonderful singer/songwriter and for this fact alone, putting aside the many others, the future is worth looking forward to with great enthusiasm."
-Tony McMahon INPRESS magazine- July 2008
"HOLY SMOKE, IT’S LILITH LANE!
Lilith Lane made her self-titled debut album in just three days. She recorded live with the band after just one rehearsal. And the result is world class. We are blessed with wonderful rootsy women – Lisa Miller, Abbie Cardwell and Sal Kimber, to name just three – and Lilith sits comfortably alongside them. Bluesy, soulful and seductive, Lilith Lane (out through Fuse Music Group) is extraordinarily good. We love Angie Hart’s description of the album: “Such a self-possessed sensuality, I imagine this is how lullabies for wild women of the west would sound.” Stephen Cummings is another fan. “Of late, several female singer-songwriters have risen to prominence,” Stephen says, “but few are as distinctive and have as much potential as Lilith Lane … she can be bruising and powerful, yet simultaneously possesses a smooth and soft velvet sensuality.”
-Jeff Jenkins INPRESS/ NEWHERENOWLIVE.COM
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“Melbourne-based singer/songwriter Lilith Lane’s debut album has the determined, gritty introspection of an artist playing to herself in a pub while the rowdy punters won’t listen.
My Cowboy (Man’s Man) puts Lane’s longing for a man ‘boots and all’ over spaghetti western strings, ghostly ooohs and rattlesnake percussion. Think The Kill Devil Hills fronted by a less angry Abbe May.
Fishing has a PJ Harvey vibe with it’s wailing, candid pillow talk and spacious production. Lane’s writing eschews hooky pop choruses or predictable song structure for a more atmospheric, balladeer sound. Winter is a particularly good example of this with it’s eerie choir backing and sparse piano accompaniment.
The intimacy, honesty and rasp of Lane’s delivery prevents this album from becoming just another blushing homage to Nick Cave. It’s refreshingly genuine.”
–David Craddock XPRESS Magazine
"Lilith Lane is a diamond in Melbourne's rough; a sumptous folk sound you can't help but adore"
-Lisa Dib www.thedwarf.com.au
"The term ‘folk artist’ meant something different five to ten years ago, when there didn’t seem to be countless hordes of them emerging from every place imaginable. Thankfully, Lilith Lane lends a special kind of depth and uniqueness to her take on the genre and the result is a brooding self-titled debut that blankets the listener in dark reflection.
Rotating between acoustic/electric guitar and keys, Lane’s rich and slightly raspy vocals are backed by some wonderfully cloying bass throbs and resonant percussion. Lead track Til My Dying Day (Johnny and June) gives a moment of false indication that this could be a predominately acoustic record, but the disc alternates between this and amplification in an almost perfect balance.
Bullfight sits as the album highlight- a richly opulent piano ballad that crawls along morosely and sinks into a gorgeous chorus line, yet is over with too soon. Likewise, mid-album cut Keep It (Dirty Secret) is a faintly sordid little number with a strong chorus that’d probably do well if it were to be pushed as a radio single. These are just the immediate standout tracks upon first listen; the others take a few hearings to be fully appreciated.
Lane, known also for her role in Melbourne group Black Pony Express, recorded the takes live to tape in only three days with the help of backing members Peter Luscombe (Paul Kelly) and Bill McDonald (Stardust 5). Thankfully, the short amount of time doesn’t appear to affect the quality of the songs in the slightest; it sits as a precise and still passionate collection of personal songs that are, as depicted on the cover art, as morosely natural as the darkening of a coastline."
-Gav Ross BEAT Magazine
"Lane and her colleagues have created a seamless collection of intimate and powerful originals which indicate an artist very much in control and undoubtedly on the ascent."
-COODABEENS ABC radio
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