Kayleigh Goldsworthy 'Burrower' - Album Review
When trading her days of punk basement shows for folk inspired acoustics, Kayleigh Goldsworthy was welcomed with open arms. Listening to rock classics during childhood sparked her interest in music, and she picked up playing both the guitar and violin. Her hard work and raw talent translated into alternative infused efforts with The Scarlet Ending, and the DIY attitude she developed and tight-knit scene she grew to cherish are things that Kayleigh still holds onto moving into her solo venture. The final product, ‘Burrower’, is a departure from cynicism and an exploration of her personal vulnerability. Her music brings a sense of romanticism to both the good and bad experiences of everyday life. Recently, Kayleigh gave us a play-by-play of the tracks on the new record, and as always I added my own comments.
1. Spark
Kayleigh: “I chose this song as the opener for the record because I thought it would be a really cool introduction. Jay Weinberg (drummer; Against Me!, Madball, etc) did a wonderful job incorporating some of my punkier roots into the song which to me showed a bit of the transition I’ve made from being in The Scarlet Ending to where I am now. The song is about the struggle of being a small artist and having a lot of people who tell you that they can ‘help’ along the way. Being in the industry you learn an awful lot about business deals, and who you can and can’t trust. Sometimes it works, sometimes it doesn’t, but it’s all about what you gain from it in the end, whether it’s actual progress for yourself as a musician or wisdom to know better next time.”
With a melodic but aggressive vocal delivery, the punk influences are evident in the song’s structure, but instrumentally the acoustic guitar and mandolin sweeten it and as Kayleigh says, provide the perfect musical transition. There’s also some great lyrical imagery here, which shouldn’t be overlooked.
2. Let It Rain
Kayleigh: “A rare gem of a genuinely happy song. I live my life thinking we have no such thing as bad days, only ones that are a little more difficult than others to get through. I wanted to try and write a song that could almost de-stress me, in a way. The ability to find solace in yourself, or in another person, and to remind you that you do not need to be affected by negativity or people who bring negativity in your life.”
This is indeed a delightfully cheerful song, that benefits from the use of banjo to carry it and Kayleigh’s conversational but expressive vocals, soaring with the catchy melody.
3. Tennessee
Kayleigh: “This song is one of my favorites on the record. Back in 2008 and 2009 I was spending a lot of time out in Nashville, and I absolutely fell in love with it. It was the first time I’d ever really seen myself for who I wanted to be and pinpointed what I wanted to do musically and where I wanted to fit in, so I wanted to write a song trying to encapsulate those feelings, sort of an homage to that city and that period of my self-discovery as a musician.”
Again sitting firmly within an acoustic sensibility, the light banjo on the chorus adds a little depth to a mix that shines the light on Kayleigh’s vocals and lyricisms.
4. Streetlights
Kayleigh: “This song almost didn’t end up on the record, actually. I had 9 songs ready to be cut, and one day I just sat down and wrote this song, start to finish. It worked out that I was going upstate to my parents’ that weekend, and I asked my dad if we could record it. In literally one weekend, this song went from being a few scribbles in my notebook to a really strong contender on the record. I’m so happy I was able to include it.”
Acoustic guitar noodles away on this semi-ballad that builds up from the bottom, and expands from a sad song lamenting the loss of a love to one that feels uplifting and hopeful for the future. Extra focus on backing harmonies and layering guitar and banjo help to create a fuller mix for a great, solid track.
5. Ordinary Day
Kayleigh: “I wrote this song as a lullaby when I came home from work one day. There are so many of us who strive to do something more than what we are doing with our lives, and when we are put into a box, be it a job or situation that we need to be in for a while without the ability to chase after that dream, it can become a very emotionally stunting and difficult time. I always knew that those people who had that fire inside of them to reach for their dreams weren’t meant for ordinary days, and once again, I think I wrote this as a reminder when I got down on myself for having to do what I needed to to ensure I was meeting all of the responsibilities that come with adulthood while trying to focus on music. Musically, the piano was kind of an afterthought when I was listening to the record at my dad’s studio in Lakeland, NY, and he has this amazing grand piano in the live room. I thought it might be perfect for this song (and ‘I Want You Around’), and I’m really happy about how it sneaks in there.”
Folky in style and including an added element of soul to Kayleigh’s voice, highlighting the husky inflections, the tinkling piano almost takes over and becomes a predominant part of the track, much to its benefit.
6. Where The Summer Goes
Kayleigh: “I wrote this one after my first summer in Brooklyn, and was really listening to a lot of old bluegrass. I wanted to make sure the arrangements reflected that, so in a way this song probably influenced the instrumentation of the entire record. Some of the songs could have gone either way, more poppy or more folk-ish, and this one was the tipping point towards folk. Also, spent a lot of time listening to old Loretta Lynn recordings. She is one sassy lady, and we could always use more of that attitude in music.”
This is probably the most country song on the record. It more than leans towards the traditional in style and structure, and has a lovely ascending cyclical melody and a sassy performance.
7. The Weight
Kayleigh: “A song that talks more about the struggles we face as artists and people, and how all of the stresses can weigh on you without any notice of them coming your way. We put some reverse keys into the swell of the first chorus, which I was really psyched on. Most of the recording process was very organic, we only used synthesizers on the ambient noises of ‘Ordinary Day’, so to be able to play around a bit more with this song was fun. Also, I really liked how we built up the end of the song “Cause nobody said get ready,” for some reason it feels like a “Wonder Years” moment for me. Weird, I know. But every time I play it I think about that at the end.”
A sweet ballad singer/songwriter-style ballad with hints of Paramore in the vocals and melody, the focus is on the lyrics here, and highlights Kayleigh’s acoustic sensibilities and attention to messages through music, above anything else.
8. I Want You Around
Kayleigh: “A pretty obvious and honest account of a breakup, this one was a new style of songwriting for me where it was very specific and followed a chronological storyline. What started out as kind of a writing exercise ended up saying exactly what I wanted to, and very accurately. I like the fact that this song is a little more sparse musically than the rest of the record. Most of the sadder songs that I’ve written may not necessarily be exact accounts of what I’ve been through, but tapping into a specific scenario. I try really hard to show the internal struggle in my mind through the song, as if my mind is processing it as I’m explaining the situation. What started in the chorus as “I have found that the reason why I know just what I want is ’cause I want you around,” to coming to the realization that this event happened, yes, but ultimately that I don’t want that relationship anymore, and that’s okay. I’ll be fine because it’s okay to have those feelings and allow them to affect you as long as you know you will find something better for you down the road.”
A shuffle, danceable rhythm illustrates this country track that is a fine showcase for Kayleigh’s storytelling abilities. It is told in the first person, which makes it that much more personal, and the conversational chronological and musing over emotional aspects are a great combination to place listeners in the heart of the situation.
9. Singing Bird
Kayleigh: “I think this one is probably the heaviest song for me, personally. I wrote it at a relatively low point when I was in New York and trying to figure everything out, so lyrically it comes off somewhat hopeless in the verses. I tried to reel it in a bit in the choruses, and keep myself in check. I actually rewrote the bridge of this one in the vocal booth while I was recording it. What came out of such a hard time in writing this song, I really found to be quite hopeful. Instrumentally I wanted to incorporate a lot of strings, and I play the violin so I also found it a bit ironic I didn’t utilize that more in the country sense, but it just fit together so beautifully. Also thought this was a great closer to the record with the arrangement tapering off the way it did.”
‘Singing Bird’ is strangely soothing in its melancholy and distress, and there’s something about Kayleigh’s voice that always feels hopeful despite what she’s singing about. There’s also some great production on this track, showing the potential for a record with fuller mixes in the future.
You can find Kayleigh at her website, on Facebook and on Twitter, and you can buy her music at her online store and on iTunes.
