BEKKI WILLIAMS: EDGE OF HUMAN (review)

BEKKI WILLIAMS: EDGE OF HUMAN (CDS review)
The UK mistress of melody that took her early inspirations from the like of Mark Shreeve and Andy Pickford – but whatever you level at Bekki Williams, the one thing that always remains paramount is that this lady can sure write a catchy tune! But, unlike the syrupy world of mediocre malady that is the commercial, film-ridden, synth fraternity, she writes tunes that have substance, strength, pace and direction. All of which is why a new album from her is immediate – there’s no “getting into it”, no “play it three or four times to see what it’s all about” – none of that. This album sets its stall from start to finish, and that is a playing field where you’re out to have fun. From slower tunes such as the delightful light majesty of ‘First Light’ through orchestral-laden splendour in the form of ‘Where Times Collide’ to the richly expansive deceleration of ‘The Azmara Variations’, this is an album of vast, stretched-out melody-laden mini-epics and, like fellow label mate Robert Fox, she has a flair for the huge sweeping chords that cover you like a prairie wind coming down from the canyons on a summer heat. ‘Edge Of Human’ is quite orchestral sounding for the most part, occasionally more “Euro” when the sequencers come into play, but it always has a vast depth of layers and textures in abundance. This is the musical equivalent of a meal at The Ritz, where the end result is always guaranteed satisfaction and, after too much of a good thing, the thought that some day soon, you’d love to do it all over again.

~ by admusic on July 12, 2007.

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