There are songs in the world that are badly in need of attention. They push their way into our ears, into our lives and they want to be noticed. These are not necessarily bad songs, but they are also not the most lasting ones. Lasting are the songs that manage to get along without us, that do not use force, that can do it all on their own, that like themselves without getting smug about it. Songs that are present, whether or not we listen to them, whether we nod our heads or not. Songs that already are in their - yes, I dare to use this big word - illustriousness and sovereignty. Every note is exactly at its proper place. Not one too many. Just right. No unnecessary fuss that demands our attention. Only the purest essence.
Reduction. And that’s how they have turned out, these songs on „Heart of Clay“ - due to the wonderful singer/songwriter talents of Amy Antin, due to the clever production by Josef Piek, along with excellent contribution by the many hand-picked musicians.
An accent on the snare, finely-tuned guitar lines over a lightly galloping rhythm; shrewdly strewn, almost inconspicuous and sober piano solos (“Happy”), here a light drum brush layered over a keyboard pad, or the long-held tones of a country-like guitar (“Heart of Clay”). Here a Doo Wop-type back-up choir (“Better Than Anything”), there a sobbing saxophone (“I Can’t Lie"), here an underground saw-like riff (“Cool”) - in each second the impression grows stronger that all parties are working cleverly with their individual instrumental colors and abilities. No wild hodge-podge, but rather precision work; just a few lines of watercolour-like delicacy, the unbearable clarity of reduction.