"This breathy, dreamy folk-pop makes us wonder why we haven't heard much of Anna Cordell before. It's got a distinctly Australian feel, thanks to her unaffected voice, and the lavish arrangement courtesy of producer of Marty Brown makes it sound classy as hell. Cordell is the kind of artist who has the potential to be a firm favourite with Aussie audiences, we can't wait to see what happens" Double J “Anna Cordell’s rich folk music straddles that place between light and dark where true human emotion exists,” Beat magazine “Amid the masses of talented songwriters and folk singers in Melbourne, Anna Cordell is emerging as something exceptional. Her songwriting is mature, dynamic, melodic and honest. Her wistful but commanding voice, accompanied by fluid nylon string guitar deserves to be widely heard and celebrated.” Ruth Hazelton "Cordell’s voice is amazing" Timber and Steel "Her voice is utterly angelic and the song has a beautiful subtlety about it. It’s introspective and gentle in the best possible ways. She also reminds us just how awesome songs in the minor key can be!" Sounds of OZ "Delicate and haunting, this song comes from a patient and knowing heart and will stir a yearning in yours" Caz Tran, JJJ Unearthed Anna Cordell plays delicate yet deceptively complex folk music. Her voice is rich and tender yet lyrically her music is filled with angst and conflict, an emotional impact that is heightened by her penchant for the minor key. Cordell’s music went and lost its priority after she completed university as she started a family and her own business. Now that her children are, mostly, at school (the 32 year old has four girls all under 10) Cordell has been able to focus more on her music. Since 2013 Cordell has been gigging profusely at Melbourne venues such as Howler, Prince Of Wales, the Grace Darling and the Northcote social club playing alongside esteemed folk artist LukeLegs, Matt Kennally (canary), emerging talents Jackson McLaren Ben Whiting and most recently, The Twoks at the Gasometer. Growing up on the Mornington Peninsula Cordell was part of a large Catholic family with the church being her first real introduction to music. “I guess I am subconsciously influenced by the pattern of church music. I used to go to a monastery with my grandparents where the monks sang this beautiful stuff, I’ll never forget it,” explains Cordell. However, it is another aspect of Cordell’s spiritual upbringing that has profoundly impacted her song writing, “So many of my songs have been born from my own spiritual struggle. I’m naturally a bit of a hedonistic but I’ve been brought up in this intense tradition which teaches you how to live: unselfishly. It’s aways asking me draw back from worldliness, to have faith in something greater, which is so hard, I’m not great at it!” Cordell doesn’t mind a bit of melancholy, which she share with her main influences, Nick Drake, Townes Van Zant, Radiohead and Diane Cluck. “I love the minor key and unresolved open chords. To me they represent a few things to me: Writing songs in the minor key seems to elicit an unspoken melancholy. And the unresolved open chords are moments asking for resolution. These chords lend themselves to be lead in a new direction. And then eventually this will resolve on a major chord the moment of reprieve, hope, relief,” contends Cordell