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Hem's debut British release starts with a short
traditional American solo verse sung by Sally Ellyson.
It was this that songwriter Dan Messe first heard on
Sally's demo, which convinced him to collaborate with
Sally for this release, and from the first
heartbreaking strains of Lord, Blow The Moon Out
Please, I too was almost hypnotised by her
outstanding voice.
She is one of those singers who can
command and control an audience's feelings and
thoughts while only emitting the faintest of sounds.
She puts vibrato on the lines at just the right
moment, and once you have heard her voice, it is
difficult to concentrate on anything else except her.
Not that it would be a hard task, for although not
flawless, this album has several streaks of genius
scattered through it. The music explores the
traditional elements of American music, and just
manages to remain relevant in a modern musical
context.
The album is relatively long in terms of tracks, and
it must be said that a few of these seemed very
average in a musical sense. For instance, Betting on
Trains uses several additional musicians, including
pedal steel, and wind and string sections. However, it
hardly seems to make full use of these extra players.
This particular song reminded me of The Corrs (which
may be the reason that I am criticising it). Another
fairly unsuccessful song takes the form of Lazy Eye.
Although it starts promisingly, there is a hugely
misplaced violin cadenza which hampers and almost
contradicts the few touches of magic in the lyrics.
In the majority of the tracks, the lyrics are indeed a
joy to behold.
Outstanding tracks include the Burying Song, the filmy
Polly's Dress, and the mesmerising Sailor, with its
gorgeous and fantastically arranged brass and string
writing. The album may indeed be worth buying for this
song alone.
Overall, the album achieves its goal: there is
definitely a folk element, and in a way one can draw
parallels between the traditional American music and
its modern counterpart (Betting on Trains is probably
the most 'modern' of all of them, and even strays
dangerously close to, erm, dare I say it.... Pop!).
Some of the tracks would not be out of place on a
Hollywood film soundtrack, and I even wouldn't be
surprised to hear Waltz on Classic FM. Several songs
are reminiscent of Goldfrapp, and Ellyson's voice
definitely adds a sparkle to the proceedings, with a
voice beautifying '30s Parisian cabarets.
The flawed moments I have mentioned are submerged by
moments where your heartstrings are pulled, your hair
stands on end, your body becomes numb, and the future
of popular music almost seems safe. Go buy.
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