Nic Nassuet rewrites the singer-songwriter user’s manual.
Singer-songwriter Nic Nassuet was practically raised on-stage; he has starred in challenging and pivotal roles in critically-acclaimed musicals like Sweeney Todd in “Sweeney Todd: The Demon Barber Of Fleet Street,” Terry Connor in “Side Show,” and the original rock-musical “Doomsday Cabaret.”
Combining his natural talent for vibrant, dramatic performance with his love of music, Nic Nassuet went on to be the front-man for several metal and punk bands before eventually going his own creative route. Today Nic Nassuet uses acoustically based instruments like the mandolin, guitar, violin and the upright bass to make his signature, genre-defying music. Currently Nic Nassuet has released two singles “Black Dress,” and “Immured”, which are captivating audiences worldwide.
Nic Nassuet is a singer-songwriter who will remind of you of the eclectic spare acoustic folk sounds of Nick Drake, though Nassuet is apt to dust them with influences quite often in the form of violins and mandolins. Vocally, he reminds me of a mix of intense intimacy of Lindsay Buckingham and the raunchy grittiness of Axl Rose.
Nassuet to me, has found a perfect balance between complication and simplicity that has an almost nirvana effect on the soul. He has stripped everything down to the essentials of pure beauty – poetic lyrics, warm melodies, and selective instrumentation. Yet his music is as intense, fierce and rapacious as the gothic intonations of any axe-wielding heavy metal band.
Nic Nassuet is superb on all levels that he needs to be. He is an absolutely first rate songwriter, moreover he is a truly unique performer .I couldn’t for the life of me, easily imagine any of his songs being performed by any other artist but himself; probably because he is an exceptional vocalist -singing softly to a full-throated bellow, in an almost impossibly gravelly but pure voice -that often borders on omnipotence and unorthodox phrasing.
Finally, Nassuet is a superb instrumentalist, who isn’t interested in virtuosity but in playing the most musically appropriate accompaniment for each song. Some artists are more focused on becoming the best instrumentalists or singers they can become, while others are more focused on becoming the best musicians they possibly can become. That important distinction applies here, in that Nic Nassuet seems far less concerned with what he does instrumentally than what he can do musically.
I rarely become so enamored with a musician’s style, vocal and instrumental, that I immediately find it necessary to search for all of the music they’ve created, but Nic Nassuet perfectly fits this rare category.
“Black Dress,” and “Immured”, has some sort of spark, a creative stamp that when you listen to it, you can tell something wonderful is happening in your presence. It’s like an experience unto its own. Nassuet has such an intriguing and novel slant on the whole acoustic scene which is hard to ignore or even attempt to resist.
There is a tendency in audiences to try to assimilate and compare something powerful and original to another – to grasp or hold onto the known. But with Nic Nassuet, this tendency won’t hold. Nassuet rewrites the singer-songwriter user’s manual like Ritchie Havens, Ryan Adams, Bob Dylan, Cat Stevens, Jeff Buckley, Nick Drake and other legendary artists did before him.
On “Black Dress”, Nic Nassuet enters on a steady strum, slowly threading a compelling head swaying beat infused by vigor and powerful imagery, bringing back the raw essence of what music should be about -feelings and emotion. Hard at work on new material, we can only hope that Nassuet continues to take music in a totally different direction than what we’re currently acquainted with!