The hardest reviews to write are for those artists who are so good that analysis is almost superfluous. Nina Fian, an aspirant actress born in Austria who studied music at the Vienna Conservatory, is a prime example. Her instrument – for indeed her alto voice is more akin to such – is a thing of great beauty, picturesque and poignant with a breathless fragility that invites the emotions to embrace it with open arms. This music may not be to everyone’s taste, but if it’s your taste then you will be able to drown in it.
Atmospheric is the first word that immediately comes to hand but that only throws a dim light on the songs. These are compositions demanding much brighter exposure. They are simple songs, sad songs, songs of introspection and reflection that beseech our close attention while at the same time sending us away to contemplate ourselves and look within. A glance at the titles alone gives an insight into the contents – ‘Should I forgive’, ‘Second chance’, ‘Saying goodbye’, ‘Finding myself’, New beginning’! The tenor of the lyrics is not hidden deep within any subplots. These bleeding hearts are worn on the sleeves either like badges of honour or cries for help.
Nina has the appearance of a waif with deep set eyes and pronounced bone structure, and her heavily tattooed arms somewhat conflict with the magnetic singing that flows from her throat like a siren. It is not faultless. There is the very occasional waver in a note, but like the deliberate imperfection in a piece of Islamic art it reminds us that only God is perfect, and so it is with Nina Fian. Her very humanity adds that quality of frailty that makes her even more enchanting.
Piano, voice and cello smoothly fuse into a synthesis of graceful melodies and intoxicating vulnerabilities. Accompanying herself on the keyboard she sings with that slight rasp redolent of Chrissie Hind of Pretenders fame. At times one can also discern fragments of her native tongue filtering into her delivery with jazzy Teutonic inflections. All these vocal fingerprints buttress the individuality of her performance and endow it with passion and compassion.
Considered use of multi-tracking, the occasional tape played backwards, simply strummed guitars building in intensity, sensitive sound effects - all add embellishment that take nothing away from the simplicity which is so elemental to her work. If one could offer any suggestion it might be to apply her talents to a couple of more up-tempo tracks to add some shadow to the light. However these are all superlative songs that make song-writing appear deceptively easy. So many stand in front of a microphone and desperately try but lamentably fail, whereas Nina seems to hardly try at all and manifestly succeeds.
‘Open your eyes’ is a particularly moreish example of Nina’s expertise – a polished studio production that encapsulates so much of her zeitgeist – personal loss, susceptibility, anguish. Simple lyrics that express the core truth about people, about you and I - Open your eyes, Can you see what you do, Don’t pretend to be blind, Deep down you know you are wrong. Her expressive voice is heavily stained with personal experience and nothing works better than art from the heart.
‘Losing you’ is another fine example of intimate acquaintance being translated into a song that lends itself to universal empathy. Why don’t you tell me the truth, why tell me lies.What could be more obvious and yet we all fall foul of the deception. Perhaps we can listen to the music of Nina Fian and purge our guilt by default and simply enjoy exquisite music that has been forged from her injuries.
Open your ears and let her music for pain be your music for pleasure.
Review by Peter Heydon
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