Your cart

Total
NZD
Shipping and discount codes are added at checkout.

Red Contributor


Jordan Reyne

Composer

Small image

Biography

Over her 20+ years as a musician Jordan has been nominated for a New Zealand music award twice, once for a bNet award and received a commendation from SOUNZ Contemporary at the 2001 APRA Silver Scroll awards. Her album ‘The Ironman’ was voted “best New Zealand Release” on the GUNZ (Gothic Underground New Zealand) site in the annual readers poll of 2000. Two of the tracks from the same CD were voted first and third best New Zealand song of the year respectively.

In 2004 Jordan was an Artist-in-Residence as part of the Creative New Zealand/Depart of Conservation 'Wild Creations' programme. She used her residency in Karamea to undertake a musical research and writing project exploring the many kinds of relationships people have had and still have with the land of New Zealand's West Coast.

Along with her own releases, Jordan has performed and written with other musicians and bands as well as featuring on projects such as Capcom's Resident Evil 7: Biohazard soundtrack, written and arranged by Michael A. Levine. Her vocals also feature on releases from Cafe Del Mar, Breaks Co-op, The Strawpeople, and The Eden House where she contributed vocals to the album "Half Life" and was part of the band's live line up until 2014. Her own album "The Annihilation Sequence" (2013) also features the voice of Tony Pettit and the mixing/mastering of Stephen Carey from the band.

Between 1999 and 2005 Jordan wrote under the moniker "Dr Kevorkian & the Suicide Machine", and also performed live under this name. Two of her CDs were also released under this title, which gained her attention and a following internationally in the darkwave and steampunk scenes, and prompted a move to Germany in 2006. Reyne also performed as a vocalist on one of the scenes in Peter Jackson's second Lord of the Rings film, in a scene that depicted Theodred's funeral. This scene, however, was not included in the final edit of the film.

International Reviews: “Dr Kevorkian and The Suicide Machine may just be making the most important sound of 2002. An enchanting patchwork of ethereal harmony, unabashed gothic melody, and a cerebral songwriting swagger, ‘The Ironman’ is simply stunning. A thoroughly unique work of art from start to finish. Whether by hook or crook, you MUST own this album. RATING – 5 / 5”— Channel 4 (UK)

“I’d be loath to categorize music this original. PJ Harvey springs to mind, but the style is 100% Jordan’s. Her vocals are astounding” — The Mix (UK)

“[The Loneliest of Creatures] is one of the best dark ambient pieces of music ever to have come out of New Zealand. It is also, in many ways, a triumph that Reyne’s previous works have been leading up to: a thoroughly emotional and moving piece of sound art which deserves wide exposure.” — FIEND Magazine [Australia]

“Jordan Reyne… she’s shrewd, has a history and keeps on going, with a weird mind and stories that evoke photographic snapshots. This music has beauty, but there’s a trace of canker now and then, a lament where the sounds help create and distort the mood. The reason it can be enchanting is because of the impeccably measured vocals that have a delightful timbre of mischief. Musically it’s always moody to one degree with the guitar and percussive slant of ‘Measurement’ being particularly anxious, ‘Part II’ set in a station with tannoy announcements and clunky footfalls being picturesque, but ‘Not Because’ ends with fluttering mayhem and what I find weird is how the songs are just one step away from sleek, gorgeous mainstream accessibility! [The Ironman] is a beautiful, perverse album, which will reap further rewards the more you allow it to.” — Mick Mercer (UK)

“Husky and thoughtful female vocals ride over a wide-ranging alternative spectrum of sound, from rock and acoustic guitars, to mellow and haunting synths. That said, this sound is distinct, with Jordan’s vocals being able to reach any scale, no matter what the music around her may be doing, making for a varied listening experience. This is what the scene needs – more bands willing to give something new a go, and Dr Kevorkian seem to be amongst those leading the way” — Hard Wired (UK)


Composed (33)

a message

electroacoustic, 6m


Echoes I

for voice and electronica, 2m


Echoes II

electroacoustic, 2m


Echoes III

electroacoustic, 2m


Empty Stations (Numb)

For voice and electronic instruments, 7m


Fear of Flying

For voice and electronic instruments, 6m


Gotham City

for voice and electronica, 5m


Green (flying over Ireland)

for voice and electronic instruments, 5m


High Country Weather

For voice with tape/electronics


How the Dead Live

for voice and folk instruments with environmental sounds


Karlsruhe

for voice and electronic instruments, 5m


Letters Home

For voice and electronic instruments, 6m


Measurement

electroacoustic work, 5m


no carrier

electroacoustic


Not Because

electroacoustic, 4m


Part II

electroacoustic, 6m


Passenger

for voice and electronic instruments, 6m


Remembering the Dead

soundscape with contextual sounds and text, 5m


The Cure

electroacoustic, 6m


The Factory

electroacoustic, 6m


The Freeing of Baghdad

for voice and electronic instruments


the green planet

electroacoustic, 8m


The Keening Song

for female voice and instrumental ensemble, 4m


The Long Goodbye

electroacoustic, 7m


the Machines of B

for voice and electronic instruments, 5m


the nothing

for electronic instruments, 2m


The Sentence

electroacoustic, 5m


The Trend

electroacoustic, 6m


The Washing Machine Song

for voice and electronica, 4m


transmissions

electroacoustic, 9m


waiting

electroacoustic, 7m


Waiting for the Sun

For voice and electronic instruments, 5m


Warsaw

for electronic instruments, 4m



Resources (1)