There is some music which transcends genres. I’m not saying that in a sensationalist way or to invoke the modern trend for hyperbole, it is just that some music is built along such classic lines that it predates the contemporary need for generic labels and neat pigeon holes. Okay, there is a touch of jazz eclecticism to be found, soulful vibes abound and the balance between the neo-classic piano which forms the foundation of the e.p. and the deft designs and clever musical motifs built from rock, pop and indie that adds the sonic detail hint at the familiar. But for the most part it seems to create a genre of its own, partially because it is happy to hop generic boundaries at will but mainly because it doesn’t conform enough to any one. Eclecticism is the name of the game.
The more driven end of the music, songs such as Lethe with its sultry dance groove and Xtralarge, which rounds things off, have something of Kate Bush about them, an overused reference point I know but there is something in the singular vision, the same willingness to ignore trend and fashion and make music which conforms only the artists own musical rule book.
Higher is built on a wonderful play off of soulful lead vocals and sumptuous banks of harmonies, exquisitely show-casing Em’s sweet and sensual voice, able to whisper gently in the listeners ear to create intimacy but also able to push upwards to create dynamic and drama. La Belle Etoile is perhaps the most intriguing of songs, the natural beauty of the sound of its French lyrics blending with dreamy textures and arabesque vibes to create a wonderful blend of eastern exoticism and western pastoral chill.
It’s a stunning collection of songs, seeming not tied to culture, clime, genre or generation, a timeless, restless musical soundscape that captures all the beauty of the past and all the potential of the present. I guess that is how you build the sound of the future.
Picture courtesy of Clair Price