JORDAN REYNE is a hell of a busy musician. If she does not write songs or play live, she does cyber gigs, supports others sharing her business experiences, and writes books, a novel for example (Remembering The Dead), or a manual for independent musicians (Gigs In Space), to make the best out of a musical career without being backed by a label. 
Right now JORDAN REYNE is writing songs and has just released Crone, the first of a trilogy of EPs, titled Maiden, Mother, [Crone], an old Neopagan theme about the triple goddess, broken down to the woman of the 21st century, on Crone told from the perspective of an old woman, ignored and marginalized by a society that no longer values her appearance.
All five songs get solely conveyed by Jordan’s voice, in her unique style layered and looped. Occasionally tribal-like drums, a bit of a guitar and sounds accompany her in the background. That makes those songs rather quiet yet always with a sarky if not even with a cynical undertone. JORDAN REYNE is brilliant to express such sentiments with her voice and vocal accentuation.
Crone sets in very gently sung with Dear John, which starkly contrasts the lyrics, a very angry side blow to New Zealand’s premier John Key. Following The Shadow Line has a more Celtic-sung style, while tension gets built up with her singing getting angrier. Rage finds its climax in Servitude, a song with whispered promises leading to pure subjugation of women. Here drums and guitars accompany Jordan’s voice which could not be more haunting and intensive. Turning From The Light is a gloomy song that makes you feel lost, before Crone closes with Dishonour Among Thieves in the way it has begun, as pure vocal track with JORDAN REYNE’s breath as beat and rhythm.
Once again I have to point out the musical uniqueness and creativity JORDAN REYNE reveals with every new output, her way to evolve and grow, her ability to reflect so sharp-tongued on woman’s life, politics and society of these days. I am much looking forward to the other two EPs.