ALBUM: Delilah – ‘From the Roots Up’

By Ed King

The danger of waiting for something is unmet expectation. And the longer you wait, the bigger the let down.

Delilah’s debut album had been scheduled for release twice (by my counting), before its final issue date of July 30th, and felt frustratingly late. Thankfully it’s brilliant; with the realistic ups and downs I’ll now nitpick my way through.

As the opening track, ‘Never Be Another’, drags grey skies over warped synths – a precedent is set.

Quasi tribal drums punch the back of a distorted vocal loop; immediately dark, brooding and lustrously industrial, before the mellifluous keys that pepper this 12 track debut. With Delilah’s sultry, yearning vocals; her distinctive sound is proffered from the off.

The second track, ‘Breathe’, introduces film soundtrack strings; relinquishing to strong vocals and stripped back lounge sounds. Although having watched the Maida Vale studio recordings, I can’t help picture it being sung any other way.

The build from slow beat to march on ‘I Can Feel You’ establishes a back line production approach, one that carries across the album but remains reminiscent of the thread connecting Florence’s ‘Lungs’.

Before the album ebb of ‘Shades of Grey’ and ‘Only You’; a back to back churlishness that lacks the simple power of Delilah’s other material.

But then, as if a direct slap on the face of immaturity, comes a stunning cover of Minnie Ripperton’s ‘Inside My Love’. And whilst Delilah’s high vocal doesn’t quite match the 37 year old original, her careful layers deliver the rest with a beautiful modernity.

‘21’ bounces out more personal lyrics, ‘I’ll smile and take a picture’, but again lacks the echoing drama of Delilah’s darker side. Before the totally unnecessary ‘Go’; which should do just that, parentheses – and stay there – close parentheses.

The plucking Balearic of ‘Irate’ shows an endearing direction (I foresee remixes of this album track), before the macchiato cherry that is ‘Love You More’. Unbelievable sexy, with or without the French intro, this is Delilah’s upbeat at best. And if you can listen to more than 49secs of it without moving a shoulder, you’re probably ill.

The penultimate ‘Insecure’ opens and closes without note; before the final ‘Tabitha, Mummy & Me’ sees Delilah’s solo keys and vocals deliver starkly personal lyrics. One of the most mature moments on the album, and an approach I’d welcome more of.

Delilah has reportedly ‘hundreds of songs’, despite taking over three years to put 12 of them together. And from exploring her online portfolio I know these include the makings of magic – such as ‘Strong for Me’ or ‘Mean to Me’.

Perhaps I’m too maudlin; perhaps I’m just a sucker for vocals and keys. Perhaps I ‘own a life time of woes but they ‘aint mine’, and I should just let the girl dance.

But whilst ‘From the Roots Up’ is an accomplished debut with true moments of beauty, it feels like a taste of the ambrosia still left to come.

‘From the Roots Up’ by Delilah is out now, on Atlantic Records. For more details visit http://delilahofficial.co.uk/

You can follow Ed King at https://twitter.com/edking2210

ALBUM: The Dark Red Room / David Austin Grey & Greyish Quartet

Ed’s Note

The Dark Red Room is the first studio album from David Austin Grey, the Birmingham based pianist and composer.

Written and arranged for Greyish Quartet; DAG’s four piece ensemble, this 14 track debut ‘explore(s) the creative possibilities which may present themselves where music attempts to reflect photography, film & cinematography, and vice versa ’.

Local saxophonist and Hip Hop artist, Soweto Kinch, features on the album; as does vocalist Jason McDougall. There are also collaborations with New York emcees; iLLspokinn and Why G?

The Dark Red Room was released earlier this year, and is available to buy on iTunes, Amazon or on www.davidaustingrey.com

Read the Birmingham Review of The Dark Red Room below; from our resident Jazz aficionado, Robert Kornriech:

 

The Dark Red Room / David Austin Grey & Greyish Quartet

Words by Robert Kornreich

Greyish Quartet are:

David Austin Grey (acoustic piano and Roland RD-300NX)

Sam Wooster (trumpet)

Nick Jurd (double bass)

James Bashford (drum kit)

Featuring; Soweto Kinch (alto saxophone), Jason McDougall (vocal), iLLspokinn (MC), Why G? (MC).

Monotonous this is not. Not in rhythm, not in style. Good it is. (Sheesh. I’m becoming Yoda.) They sound good to watch.

Something for everyone; jazz, romantic ballad, rap, hip hop. Not that this is a mish-mash rag-bag. No, there’s something clearly underlying this diversity, this (don’t you just love the current jargon?) ‘multiplicity’.

Great piano, trumpet, double bass (do I hear Jaco Pastorius? I hope so) and sax. To me the dominant style is 1960s/70s post-bebop cool; Miles Davis, Sonny Rollins, John Coltrane, Bill Evans. But that’s what I like – so perhaps I project this on their work.

But I can do without their jazz-fusion – shades of Joe Zawinul on Miles Davis’ ‘Bitches Brew’. And without the Herbie Hancock jazz-funk version. Well, y’know, I just don’t like that type of electric piano on ‘You’re Like Kryptonite’ and ‘Why So Negative?’”

Come on, David; leave Joe and Herbie behind and play a (split/chopped) Hammond organ – a B-3 with a Leslie speaker, like Jimmy Smith or Steve Winwood. I know you can.

And iLLspokinn and Why G? Sorry, I just don’t get. OK, OK, I don’t like rap and hip hop – so perhaps I project that too. Truth. It reminds me of Vincent Price hamming up. But now you know where I’m coming from.

All in all? It’s still a great record.

ALBUM: ‘Strangeland’ / Keane

Words by Cesilia Oriana Trecaquista

Keane’s latest release,  ‘Strangeland’ – the fourth studio album from the British quartet, achieves its goal of being less production led, reverting back to the songwriting and keyboard dominance that made their first and second albums; ‘Hope and Fears’ and ‘Under the Iron Sea’, so successful.

‘Strangeland’ is pleasant enough; an album that allows Chaplin’s distinctive vocals to soar on a series on tracks reminiscent of early Keane days.

Personal favorites are the Lennon-esque, ‘Watch how you go’, and the melancholic ‘Sea fog’. The songwriting is strong and honest, with a clear recurring theme; that of prevailing against testing times, running through tracks such as ‘The Starting Line’ and ’You are young’.

There are, unfortunately, some tracks that do not make the grade. ’On the road’, is a power ballad almost so clichéd and predictable in its composition, it feels uncomfortable; and unnecessary to pursue listening to the end.

And for me, ‘Silenced by the Night’ has far too many Coldplay comparisons too mention. Imagine the drone of Chris Martin’s vocals instead of Chaplin’s, and you’ll understand what I mean.

But despite the fact Keane do nothing new with this album; in terms of style and substance, the phrase “if it ain’t broke, don’t fix it” comes to mind.

If the criticism of Keane, when venturing out of their comfort zone (‘Perfect Symmetry’, Keane’s penultimate studio album) is anything to go by, they have been arguable wise to stick to what they know. And what they are known for.

Keane are now four albums old, and have at least tried (and, arguably, failed) to experiment with new sounds; whether through choice, natural band progression or simply to placate critics challenging them to be ‘less formulaic’.

And with ‘Strangeland’, Keane give their dedicated fanbase what they really want; solid songwriting, melodic (if not slightly clichéd) compositions and a comfortable collection of music.

One, albeit at times inevitably predictable, that will no doubt satisfy their followers.

‘Strangeland’ is available now. For more on Keane, visit http://www.keanemusic.com/

RELEASE: ‘Moonchild’ / Charlene Soraia

Words by Ed King

The phrase ‘graduated from the BRIT school’ usually sends me running for darkness; hiding from an army of egos ‘including classmates Adele, Jessie J, Katy B…’

Charlene Soraia graduated from the BRIT School, and despite lacking; GCSE Music, a Grime remix, dyed hair or an acronym, she released her debut album – ‘Moonchild’, last year. Although her cover of The Calling’s cliché massacre – ‘Wherever You Will Go’, and its promulgation on a Twinings TV ad, may have helped a bit with the budget.

Moonchild’, released on Peacefrog Records in November 2011, is a 12 (original) track album of ‘alternative folk’. Another fatuous descriptive to add to the list (came across ‘mutant garage’ the other day, quite fond of that one).

It also includes Soraia’s cover of ‘Wherever You Will Go’ as a bonus track; where with just a voice and piano Soraia manages to turn the lyrically inane into something quite beautiful. A trick The Calling missed the first time around.

Featuring many tracks from her previous EPs, ‘Moonchild’ is an expertly produced foray of Folk. Opening with the slow pluck of ‘When We Were Five’, producer Paul Stacey brings just enough background; including excellently placed effects and sax, to support the raw maturity of Soraia’s vocals.

Once the mini wall of sound subsides, it’s over to the straight strum of ‘Daffodils’; a careful reproduction of the eponymous track from Charlene Soraia’s 2008 EP.

Then the melodies of ‘Lightyears’ and ‘Rowing’ give real grounding, highlighting a careful balance of approach that runs concurrent (until the bonus track) throughout the album.

Lyrically, Soraia juggles the astute and the obvious. The acerbically brilliant ‘Bipolar’, parodying the selfish desires of precariously balanced women – ‘I think I’ll have a baby with a man who beats me’, taunts the Salisbury hangover of ‘Meadow Child’ – ‘He’s still a meadow child, one of the sun, I’ll stay in the shadow until he returns’, and other tracks. But it’s always believable. Which helps. And the album’s called ‘Moonchild’, so what did I really expect?

I’m a fan of Folk (not NuFolk, not Alternative Folk, just Folk), singer songwriters and strong female vocals. But I’ll judge them harder than anyone, picking holes as a must to non biased reporting.

So, that being clarified, ‘Moonchild‘ is a remarkable debut. Original, relevant, and perfectly produced (kudos Mr Stacey); maintaining an individuality and voice that deserve their own time and place.

My only concern (fear, necessary counterpoint) is how much material Charlene Soraia actually has. Many tracks on ‘Moonchild’ have been previously released, featuring on EPs since 2008; being CPRed by experienced production. And whilst the album retains Soraia’s stamp as a songwriter, some tracks fall between the cracks of a well polished debut.

Call it picky, call it unsupportive. Call it a back handed compliment. I’ve been listening to ‘Moonchild’ on repeat since I bought it, but it’ll grow old eventually.

For more information on Charlene Soraia, or to purchase a copy of ‘Moonchild’, visit http://charlenesoraia.com

Charlene Soraia plays The Glee Club on April 15th. For information on this, and other gigs at the venue, visit http://www.glee.co.uk/birmingham-music

RELEASE: ‘Gown – Special Edition’ / Jo Hamilton

Words by Ceri Black

Despite over 50,000 Facebook fans, and supporting the likes of Damien Rice and Michelle Shocked, Jo Hamilton is still relatively unknown.

Born in Scotland, now based in Moseley, her first official album – Gown, was originally released in 2009 to pundit acclaim. Now, in the absence of any further album releases, Gown has been remastered into a Special Edition, including bonus tracks and artwork.

After researching Jo Hamilton, I was excited to sit down with a cuppa and listen to her work. Classically trained, and often compared to the likes of Bjork and Sigur Ros, I had rather high expectations of Gown – Special Edition.

Plus Hamilton was the first artist to professionally use an ‘air piano’ (a non-contact electronic instrument), and after hearing her describe playing it as ‘almost dance-like’ my curiosity grew.

So, were my assumptions of something amazing met? Almost.

As a debut album, Gown is far from routine. Inspiration from world cultures (Hamilton recorded parts of Gown in Cambodia and Jamaica) flow through the tracks effortlessly, as Hamilton’s flirtatious vocals unite the use of unusual instruments and beats.

‘Paradise’ is an excellent example of the quirky use of sound – from a man speaking a language I wouldn’t hazard a guess at, to the clean clash of finger cymbals, this track creates a perfect sense of warmth.

‘Liathach’ is something far simpler. Starting with only Hamilton’s voice accompanied by piano, the track ascends into a beautifully powerful ballad, flaunting the talent she so clearly possesses.

But in spite of all of this, some tracks left me a little irritated, confused even. There is so much going on in ‘Pick Me Up’, for example, I found it difficult to grasp the idea of the song.

Also the use of too many instruments, alongside Hamilton’s sometimes strangely nasal vocals, produced a musical mêlée I occasionally couldn’t get my head round.

But this is a minor criticism, Gown – Special Edition is definitely worth a listen.

And after attracting a second round of UK attention, alongside impressing audiences stateside, Jo Hamilton’s profile looks sure to increase. And about time, you’ll no doubt hear Facebook say.

For more information on Jo Hamilton, and to listen to and purchase Gown – Special Edition, visit www.johamilton.com