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International Acts

LUCY MALHEUR Vintage

‘I Ain’t Owing You’ has a rather splendid charm going for it. This is a knowing trait that is traded on in the charming feel to how the rhythm runs and holds over the tempo. Her voice spills out comfortably and keeps in time with the running. After that comes ‘You Can Run’. The 60’s revisionist vibe serves it well. The catchy allure procured in the delivery warms you to it and it imbues things with a stylish sense of substance in the process. ‘Goin’ My Way’ is more affirmative. The delightful revelry that comes through matches the intent. It has something in the handling that is sweetly considered, while there is a lot going for it from the emphasis placed on developing the play. ‘I Can Do Without You’ is again a capable tune that embraces a 60’s tone. The pop sensibilities also show smarts here in the volume and appreciation that does a lot for the tune as a whole. There is a comparison with Dusty Springfield on ‘Happy With You’. The upbeat tempo has substance, while there is a clean pair of heels shown in the way it carries through. But it is an endeavour with a hardened sense of urgency about it. Then ‘You Gotta Let Go’ brings a reverence to proceedings. Here a high level of musicianship comes to pass. This is felt and noted from all fronts in terms of how this is pieced together. But it has an intelligent whip to it.

upon a comfortable reach in the arrangement. Steady on its feet, there is a great deal going for it in terms of the able bodied way that it comes across. Hiding away on it is a clean showing and the play mirrors this fancifully. Then the upbeat ‘I’ll Give You Girlie Rock’N’Roll’ holds firm and fast. The pop sensibilities are considered with affirmation. The unfaltering way it plays through pays its dues in the approach. Reverting back to the 60’s styling is ‘Privacy’. In the realisation of the song’s lyrics and narrative is something that cleverly comes to pass. The cool way the rhythm flows provides it with drive and it does have a high retro appeal in how much of a throwback it comes across as. ‘Sixteen Again’ lays away something that has a slight shoegazer meets pop feel about it. The soft touches in the vocals see to this. It has this inspired hook in the catchy showings that sits on the right side of appreciation. After that comes ‘Brown Eyed Drummer Boy. It has a hint of country in places, while the best is drawn from the way that the instrumental side of things is laid on here. It is catchy and clean, while on the whole it seems to be a tune that holds its own superbly from the off.

‘The Price You Pay’ seems to have a hint of The Carpenters going for it. The comparisons are made from the sheltered and comfortable conveyance of everything in the lyrics. The breakdown in has a sense of control, while the precision in the flow takes account of this and relays it sufficiently. Next song ‘Okay’ happens

Keeping an old school sensibility in check is ‘Tommy K’. The piano immediately grabs you and the opening line has an affirmed showing that carefully takes stock of the hardened approach of the context. This sense of intent marks it out in a good way. With ‘You Make Me Feel At Home’ there is a feverish calling to proceedings. The blues pick up runs through fancifully. That American showing is unmistaken and it is an influence that imbues it from the core. The last track is ‘Lookin’ Through You’ and is also cut from the same cloth. It wears it well and the trusted way that is steers things keeps hold of the delivery with no fear. In return the arrangement carries off in an appreciated way, with her vocals and the production values also showing in the pass for the right reasons here.

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Profile for Unsigned & Independent

September 2014  

This month’s cover features an amazing band from San Diego called Everyone Is Dirty. They are an excellent band with a finite underground vi...

September 2014  

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