Liverpool Sound and Vision Rating 9/10

To reverse is not the action of retreating, but rather a strategic withdraw in which to counterattack at a later time with pride intact, with new ideas and attitude soaring high above the plains and fields, and where the trials and tribulations engaged and became inspiration to move forward, to conquer the darkness that holds us back, and where Everything In Reverse is actually the epitome of continuation and the blueprint for persistence.

Maria Owen, under the cunning and intriguing artistic title of Kintsugi No.21, an artform which adds to the blend and mystique to the music held within, has been actively resurgent once more, and music as a whole benefits greatly from her insight and close examination of lyric and music style, and in Everything In Reverse, that sensational reaching out of the artist’s persona finds a way to dig deep into the heart and refuses to let go.

As each track powerfully entertains the listener, the reasons behind the pseudonym become clear. It is not an album which hides the artist, but rather celebrates the belief that nothing is truly broken, nothing should be thrown away when a line of gold can mend and even enhance the structure and the beauty of the object. Everything In Reverse has gold weaved through it, but not one crack in which the process can be seen as anything but unblemished, pure, faultless. 

As tracks such as Persephone, We Know Our Names, Godot Bardot, Parallel Lines and White Noise steamroller through the day, as they leave a deep impression in the gravel of our mind, the album overturns and inverts the pressure to be something that you are not so that you can blend in, for who wants to be part of a crowd when you can be unique, when you can be indomitable through your own voice being heard.

It is with gladdened heart that Maria Owen, in her artistic guise of Kintsugi No.21, returns, and what a return it is! 

Kintsugi No.21’s Everything In Reverse is out now.

Ian D. Hall