First as
a jobbing keyboardist for hire in groups like These New Puritans and
then emerging with her own compositions out of the burgeoning
jazz scene. Her last record, the excellent Forest City, saw her
establish a niche of her own, drawing from her previous excursions but
existing in an oneiric paradigm unique to her.
Fully two years later, and back with a new album Closer – also
arriving via uber-hip label Innovative Leisure – the dreaminess of her
previous effort is still present but the songs are generally more taught
and focused. The album begins with the elegant
disco of "Light", and a beautifully melodic and restrained synth line
that introduces the chorus in a way that is redolent of Kate Bush. A sax
solo weaves its way into view and subsequent key change draw more
obviously from her jazz background.
The title track doesn’t stray far from the blueprint set out by "Light",
but "Grow" is more interesting with more than a passing glance at the
dance floor. It doesn’t stick around for long, but it’s not hard to
imagine an exuberant, extended live version. The
same goes for "Sun" which appears on the second half of the record and
has Balearic inflections.
"Time" is probably the most explicitly jazz moment on the album, and has
a charming build and some wonderfully intricate moments. Another
previous single closes the album, "Floating" makes more use of the
vocoder, which appears sporadically throughout the record,
and has a glorious blend of synths, samples and percussion which build
pleasingly to a crescendo.
Overall, Closer is an album that sounds beautiful and revels in
subtlety and grace. It’s not hard to imagine hearing it in cafes and
bars this summer, seeping into rooms like ray of light piercing through
dust, and hopefully in festival tents and concert
halls it can grow into an expansive, mesmeric future.
