Ryan Downey - Running (2018)

The defining feature of Ryan Downey’s music is his voice, a jaw-dropping amalgamation of Leonard Cohen and a spirited Bill Callaghan by way of a mid-century crooner. Running is a glorious and perfectly constructed 21st century folk gem, not a note detracts from Downey’s rich baritone as he sings a song cycle of humour and pathos. Self-analysis, sex, love and modern life.

Deftly plucked nylon string guitar, mesmerizing baritone, pitter-patter electric beats, electric guitar flourishes and rich synths; Downey has created a musical world unlike any that you’ve heard. This is as close to emotional and musical perfection as you’re likely to hear on a record this year. Pure magic.

Produced by Steve Hassett (Luluc) and recorded in both New York and Melbourne, Running reveals Ryan Downey as a timeless talent. An incredible debut from an artist capable of balancing cheek and sincerity, classicism and swagger and grandeur and restraint all within a single, composed breath.

Central to this album is Downey’s distinctive baritone voice which contains traces of Roy Orbison and Serge Gainsbourg. Exactly what his songs are about is anyone’s guess, with lyrics mixing poetic storytelling with a hint of humour. Is ‘Techno Dolls’, for example, a dream, a metaphor or futuristic projection?

It’s hard to know just what to make of this album. On one hand, the album comprises an interesting collection of songs that beautifully showcase Downey’s gorgeous voice, on the other, many songs are tainted by arrangements of cheesy synth and electronic drums – think ‘80s Leonard Cohen. In the aptly-titled final song, ‘The End’, synthesised string arrangements act as a reminder of what the album could be, had there been a budget big enough for the real thing.

A highlight of the album is the suave title track ‘Running’ in which guitar and vocals are set to a restrained backdrop of Hammond organ. The hopeful and honest duet ‘1+1’ is also a standout.