| Review by Mike
Lyon (Lincoln Chronicle)
It is no coincidence that the cover of singer-songwriter
Abi Moore's debut album is a diary. Inside is an honest and
often courageous chronicle of the past decade, of
relationships and incidents, and most notably the death of
her best friend ten years ago which forms the basis of
Holding On. But there is also a freshness, even an optimism
about The Aftermath of '96, mirrored in the quiet strength
of several tracks, the independence of songs like When The
Devil Calls (“All the lessons that I learned in life, I
learned them on my own”) and the very fact Abi herself has
written, played, sung, recorded, mixed and produced pretty
much everything here. Her voice is central to the album's
appeal, reminiscent of Texas chanteuse Sharleen Spiteri at
times and beautiful throughout, underlined by gently
persuasive melodies and excellent arrangements, notably on
opener Circles with its jazzy guitar and the rolling piano
and gospel energy of Let It Go. Yet the set’s standout track
is not autobiographical at all but inspired by The Lion, the
Witch and the Wardrobe; The Prophecy (Part I) showcasing the
breadth of her nascent musical vision while also capturing
both a sense of wonder and the story’s implicit
spirituality. An impressive and emotionally involving
introduction to a bright new talent. |
|
Lincoln singer/songwriter Abi has
produced an accomplished collection of self-assured songs
that clearly demonstrate her ability to create, arrange,
perform and record songs of memorable quality. Kicking
off with Circles, a driving acoustic number, her confident
voice rides the professionally executed production. In
partnership with lead guitarist Adam Schofield and drummer
Martin Collins, Abi goes on to impress with the wistful
vocal harmonies of Holding On and dark piano and moving sax
of Let It Go. Having already supported Midge Ure and
played alongside Amy Winehouse, Air and Super Furry Animals,
Abi has a bright future: she con only build on the impact
she's made.
Musician's Union |
