Eliza Marshall’s debut solo EP, New Birth, released late last month , via Real World X, marks a bold and exhilarating step for the acclaimed flautist and composer. Known for her work with folk group Ranagri and collaborations with luminaries like Stevie Wonder, Sir Paul McCartney and Peter Gabriel, Marshall steps into her own spotlight with a genre-defying three-track collection that weaves together global influences, intricate rhythms, and emotive flute melodies.
Recorded between Real World Studios in England and Dakar, Senegal, with contributions from musicians like Ady Thioune and Ansumana Suso, the EP is a vibrant testament to cross-cultural collaboration and artistic reinvention. The title track, “New Birth,” opens the EP with a cinematic flourish. Marshall’s flute dances through layers of tribal percussion, hypnotic balafon rhythms, and soaring vocals, creating a soundscape that feels both ancient and futuristic.
The driving drums provide a pulsating foundation, while the flute’s fluid, almost conversational melodies evoke a sense of awakening—true to the track’s theme of new beginnings. It’s a powerful introduction that showcases Marshall’s ability to blend her classical training with world music influences, crafting a sound that’s both accessible and otherworldly .“First Light” shifts to a more introspective mood, inspired by Marshall’s experience of dawn in Kenya. The track opens with field-recorded cicada sounds, layered with bass flute, balafon, and haunting vocals. It’s serene yet dynamic, capturing the delicate beauty of a new day while hinting at the uncertainties of entering an imperfect world. The interplay of organic and electronic textures creates a dreamlike atmosphere, with Marshall’s flute guiding the listener through moments of calm and subtle tension.
The final track, “Our Times,” is a rhythmic tour de force, drawing comparisons to Steve Reich’s minimalist works like Six Marimbas. Rapid-fire percussion and intricate flute lines intertwine, creating a hypnotic yet melancholic pulse. Marshall describes it as a reflection on the era we live in—its connections, challenges, and fleeting nature. The track’s urgency and layered complexity make it a standout, leaving listeners both energized and contemplative.
New Birth is a concise yet expansive journey, clocking in at just under 15 minutes but packing a wealth of ideas. Marshall’s willingness to push beyond her comfort zone—melding tribal chants, powerful percussion, and electronics with her signature flute—results in a cohesive yet diverse sound. The production by Graeme Pleeth is crisp, allowing each element to shine while maintaining a unified vision. If there’s a critique, it’s that the EP’s brevity leaves you craving more, though a forthcoming full album hinted for autumn 2025 promises to expand on this vision. For fans of world music, minimalism, or artists like Peter Gabriel, New Birth is a refreshing and bold statement.
Marshall not only redefines the role of the flute in contemporary music but also crafts a deeply personal narrative that resonates universally. This is music that feels alive, rooted in tradition yet fearlessly forward-looking—a true rebirth.
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