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Rosie Westbrook

Prior to the release of Wave, Rosie Westbrook has been one of Melbourne's most established female musicians - touring and recording with numerous contemporary music artists and bands including Michael Thomas (Weddings, Parties, Anything), Sean Kelly (Models), Spencer P.Jones (Beasts of Bourbon) and folk/world music artist, Kavisha Mazzella. Rosie had formal music training in classical guitar and double bass. After graduating from the Victorian College of the Arts, she continued bass studies overseas in Europe and America. Since the mid 1980s Rosie has worked as a bassist with symphony orchestras, opera and music theatre productions, on soundtracks for film and television productions and as a session musician on many recording projects, most recently playing on Dan Brodie's recording.

"If Dirty Three's hairy crescendos keep jolting you from the couch in fright, Melbourne strings player Rosie Westbrook may be the answer to your next late-night crisis. The slow, slightly uncomfortable scrape of Bells sets the moody tone of this cinematic instrumental trip, a study in graceful seafaring atmospheres with just the odd guest , the occasional drummer and slide guitarist, most often Models guitar player Sean Kelly.  adding to her layered bowing and plucking. Although the album is lyric-free, the tight, songlike structures of Tender and Ghosts make the difference between shapeless ambience and something more hummable. things are made more exciting by the dynamic likes of Desert and, particularly, Botanic, a fuzzed-up, electric climax that recalls the more cathartic experiments of King Crimson's heavy period. Van Diemen's Land perhaps boasts the catchiest melody, but several tracks continue to haunt the house long after you've dried your eyes and pulled yourself together. Wave is an album you can love as well as wallow in." [Michael Dwyer - The Age]

"These are small, gentle sweeps of music that might slide past the neurons almost unannounced, if it were not for Westbrook sometimes nailing a melody so sweetly it hardwires itself into your memory. Her fluid double bass shapes these instrumentals in a manner not unlike that of David Darling, whose cello playing redefines that instrument. Westbrook turned to her little black book only a few times, seeking help from a handful of musicians to add mostly nuance to the sparse arrangements (notably Sean Kelly) on guitars). Small, but significant, their sometimes pennyweight contributions feather the contours of Westbrook's delicate ideas of the isolation between desert and ocean waves. It is heartbreaking to think how many Australians are charmed by the insignificance of vapid New Age tosh when beautiful music like this is made and played so regularly." [Pete Best - Sunday Herald Sun]

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