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Blood Thinner

Jordie Lane
Blood Thinner

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Not Built To Last EP

Jordie Lane
Not Built To Last EP

Fool For Love - (Digital Single)

Jordie Lane
Fool For Love - (Digital Single)

Lovers Ride

Jordie Lane
Lovers Ride

Sleeping Patterns

Jordie Lane
Sleeping Patterns


“Evokes the subtle moments of being human,” reads the description of Jordie Lane‘s recent clip single Not From Round Here from new album Blood Thinner. Truer words were never spoken. If Jordie Lane’s music cannot evoke something in you, perhaps you have bigger things to ponder. 

With a voice that resonates among the local folk scene, Lane’s music will taunt the wandering soul in you, while at the same time brings you back to what is simple and poignant in everyday life. Perhaps it is that he takes the time to see the things in life we often miss. Whatever the reason, Lane is making large waves not only in Melbourne, but as one of the leading singer songwriters in Australia today.

“…lovers of well-crafted acoustic songs will find something to love here” 


“Lane has a knack for saying only what’s needed and…provides a unique appeal with every one of his songs”

Inpress (Live Review)

“One of Lane’s greatest strengths is his voice….[his] writing has plenty of depth and maturity for such a young musician.” 

Inpress (Live Review)

“Channelling Parsons, Springsteen and Van Zandt, Lane is an exceptional talent.
MAG – 4 stars

Drum Media

“Lane…has created a work of beautiful honesty and intimacy…despite his young age.”
Drum media

Db Magazine - Mark Liebelt

Recorded in the US on a Tascam 4 track Porta-Studio Cassette Machine (very old school recording style kids), with all instruments including guitar, banjo, kitchen utensils, wine glasses, boxes and even Tupperware played by Lane, 'Blood Thinner' could have either ended up being a train wreck or as it turned out, a masterpiece. This is no doubt due to the co-production and mixing by Tom Biller he who has produced Beck, Kanye West and Fiona Apple amongst others. So this might all sound pretty weird on paper, but stick the headphones on and there is some wonderful magic to be enjoyed. 

The opener Diamond Ring is chock-a-block with guitar, banjo, (box?) drums and a distinctive voice that sounds like its owner has had his heart ripped out not once but twice or thrice. Annabelle Marie is a plaintive call, over guitar and subtle brush work on boxes, for something more substantial than what could have been an encounter on tour. Thin My Blood though starts with an up tempo banjo riff, almost 4/4 time, Lane telling the listener not to tell me how to feel. See the pattern here? 'Blood Thinner' is about love in all its melancholic forms, and not once does Lane hold back on his thoughts. Side A finishes with Room 8, a brief recording of the sounds one hears in the room that his hero Gram Parsons died in, Lane staying and recording in the same said room. 

Side B opens with the alt/country feel of Old Time Spell, a track that would not have been out of place on any of Parsons' work. Lane's love of the West Coast is writ in spades on Hollywood's Got A Hold where he sings. "There's so many hopes, and dreams on the table". Of interest is his cover of Parsons' I Just Can't Take It Anymore, a choice guaranteed to have the listener wondering where Lane is emotionally at. 

Simply put 'Blood Thinner' is how records used to be made and should still be made, as it uses the bare minimum of instruments, was recorded simply and easily and most important of all contains material that will stand the test of time. Outstanding. 

Rhythms Magazine - Martin Jones

From the plaintive opening plucks of Jordie Lane’s second album, Blood Thinner, you get the immediate whiff of distinction. You know those rare recordings that offer an inexplicable tone of gravity before the lyrics and melodies have even registered? Seems Lane headed into the Californian desert on one of those Gram Parsons pilgrimages. Something happened out there (we’ll find out more about that when Lane stars in next month’s Rhythms). He was one of the few who actually come across the spirit of Parsons. Armed with that spirit (and possibly a few other more potable ones), a few instruments, a four-track, a heart full of turmoil and a head full of ideas, Lane blurted out a bunch of songs in his Joshua Tree hotel room.

It is a great musician who can make something compelling armed with very little (see Gillian Welch and David Rawlings). With only his guitar and banjo, some boxes and Tupperware for percussion, and random objects like a $10 garage-sale harmonium, Lane has excelled in creating a sonic palette that is both elegant and exciting. When the beat-box style rhythm kicks in on ‘Room 8’ (ode to the hotel room in which the recording was initiated), you can’t help but cry “genius!” And is that a ringing wine glass at the end of the song? In those country/folk meets contemporary ingenuity moments, Blood Thinner reminds me of some of Steve Earle’s more recent work, particularly Washington Square Serenade. The constant creativity in the arrangements has you on the edge of your seat the whole record. Lane clearly recognised what he had captured on tape and took it do some hi-fi dudes for further treatment, Grammy winners Tom Biller (mixing) and Reuben Cohen (mastering) in the USA.
The next thing you’ll notice is how far Lane has come with his guitar playing and singing. Nearly all 12 songs are based around Lane’s fingerpicked acoustic guitar, augmented by some tasty sprinklings of banjo. In fact, on songs like ‘Not From Round Here’ that’s all you’re hear besides Lane’s voice.

Now to that voice.

Bearing the most responsibility on Blood Thinner, Lane’s voice rises to the challenge as a force of power and grace. The album bio raises Springsteen’s Nebraska as a point of reference and not without cause. You know how you can picture Springsteen alone in the dark in some shabby room singing those Nebraska songs and you’re compelled by the truth of every single word? You can picture Lane sitting in that Joshua Tree room in much the same fashion, moaning that truth like his life depended on it. And maybe it did. Both his harmony singing, and more bare performances (check out ‘Waters Clear Here Dear’) are breathtaking.

The album opens in a Welch/Rawlings tone, Lane providing, as he does for almost the entire album, all the instrumentation, backing himself on banjo and harmonies, with ‘Diamond Ring’, a potent two-and-a-half-minute tale of heartbreak.
Second track ‘Annabelle Marie’ is immediately striking, McCartney-esque in its bird-song melodiousness and pretty finger-picking, before the title track heads back to Welch/Rawlings territory with some incredible harmonies and Dylan-like lyrical bursts. Again, the whole thing’s over in two-and-a-half minutes, job done.
Like Welch, Lane has a knack for juxtaposing the ancient and the modern – ‘On The Net Till Morn’ talks about online lust in a traditional country-blues format. He’s also capable of claiming ownership of such well-worn forms. You’d sware the closing gospel opus, ‘I Sinned Today’, was lifted from an esteemed troubadour of yesteryear.
But, like Nebraska, Blood Thinner is not an album in which individual songs immediately jump out at you. They are like chapters of a book, each a critical part of the whole experience, each similar in tone and spirit, each contributing to the cumulative effect. That, my friends, is what they used to call an ‘album’!

Martin Jones

The Age

Jordie Lane's stay at the Joshua Tree Inn was a hauntingly inspirational experience.

A GHOST lives in room eight of the Joshua Tree Inn in California's Mojave Desert. Gram Parsons' young face smiles from framed photos and posters keeping watch over the room where he died, from a cocktail of morphine and alcohol, in September 1973.

There is a fat guest book bursting with fan letters, poems and drawings and a table under the window heaving with old vinyl and a growing stack of CDs - gifts from a long stream of pilgrims.

A website's pitch is eerily tempting: ''This is where the father of 'Cosmic American Music' went from rock star to rock legend. The room is haunted. Bring your guitar and write songs. One night: $105.00.''

Don't get Jordie Lane wrong. He wasn't expecting to commune with any spirits when he flew out of Melbourne for his first visit to the US last October. He didn't take a guitar, nor intend to make a record. But room eight changed everything.

''I just wanted to go to the Joshua Tree and stay there and I can't really explain any more than that,'' he says, back in his Thornbury comfort zone, about to tour an album titled Blood Thinner.

''I wanted to do it, I had to go there, and as soon as I got in the room it felt really spooky and welcoming and - I don't know, I just felt more comfortable than I'd felt in years. Anywhere.''

Blood Thinner is no homage to Parsons, although it does borrow one of his songs. The album is a much more personal record of questions, confessions and old-time spells drawn from the inspiration only dislocation can bring.

Much of it was recorded in room eight, using technology unfit for the task. The old four-track Tascam Portastudio Lane hurriedly borrowed was a relic of analog home-demo days. He had to drive to Mexico to buy the blank cassettes (ask mum or dad, children).

The result is a rare and enthralling quality of sound and atmosphere that belies the simplicity of his makeshift tools and methods: a slapped table here, a rubbed banjo skin there, pens hitting boxes and drumsticks wrapped in airline socks.

''At the time, when I was recording to the four-track, I didn't have any conscious thought of trying to make an album,'' Lane says.

''The thought was to just try to get songs down on tape while I was writing. I've learnt in the past you've got to get ideas down straightaway, or else you either lose them completely or you lose that fire in the belly of the song.''

After burning a guitar in the desert in dedication to the cosmic cowboy, Lane holed up in a Hollywood basement to write and record. The final polish, such as it is, was applied by a guy named Tom Biller in Eagle Rock, Los Angeles.

In telling the story, Lane relishes every exotic place name like the unabashed American music acolyte that he is.

''This was a real release for me,'' the 26-year-old says. ''Any person who goes travelling knows how it opens your eyes again, makes you question yourself, lets you be whatever you want to be.''

One thing he wants to be, he has since decided, is a permanent resident of Los Angeles. Yeah. He did not expect that either. His helpless surrender to the city's strange magnetism is laid bare in song on Hollywood's Got a Hold.

''How can something that can look so ugly and tragic and often really quite dead and not happening, be so attractive?'' he asks the walls of the Thornbury bar where the staff know him by name.

''How can it suck you in, to the point where you start to believe that anything is possible? All of those American ideals start to come into your head. What's happening to me?
''It's that light, the desert … even the McDonald's signs are falling over and rusting but this is a community of really creative and open-minded people. I think a lot more so than back here.''

He checks himself, wondering if maybe that's just the mindset of having lived in the same suburb all your life. Maybe he is chasing ghosts in that desert? Blood Thinner seems a real enough reward.

''The lines between fantasy and reality do start to blur over there,'' Lane says. ''All the things you're seeing, you've seen in movies. Now, you're realising that not all of Hollywood is Hollywood. Some of it is real life, too.'

J Mag - Jenny Valentish

The talented Melbourne multi-instrumentalist soaked up the Mojave Desert on a recent visit to California and channelled Gram Parsons for these melancholic paeans to girls in bands, girls with scorpions in their ears, girls in motels...and other topics that might interest a young man on the road. He's in possession of one of those grand counrty voices that straddles remorse and reproachfulness. A finger-pickin' good second solo LP that evokes thunderstorms, campfires and sawdust-floored ale-houses.

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