Singing The Pop Rainbow

Starring :

Baba Ali, Chloe Foy, Gnac, The Helicopter of the Holy Ghost, Nils Frahm, Rodrigo Amarante, Spencer, Texas, Wavves, Yola

This Week's Music

The broad spectrum of pop music is exemplified by this week's reviews, which cover everything from classic radio pop to power pop. It showcases invention and creativity and one of the loveliest, most perfect passages of unaccompanied singing I've heard in a long time.

As ever this week's Taster Track playlists can be accessed at or via the Spotify link on the Home Page. The link to the Youtube playlist is

The Shadowplay playlists are at: and

Highly Recommended

Where Shall We Begin : Chloe Foy

Chloe Foy has produced a collection of quietly magical songs that are easy on the ear and good for the soul.

Most of us can sing unremarkably given the chance, a bit of practice, singing lessons or Autotune support. Some people are singers despite their voice and they march under the banners of people such as Bob Dylan, Bjork and Tom Waits. But a small number of people have voices that make it inevitable they will become singers. Their voices are the perfect fit for their material, and turn good songs into great ones. Chloe Foy is in that category.

Her voice is sweet and clear. It’s tremulous where it needs to be, and has a range that enables her to convey a multitude of emotions without straining. Two minutes and twenty seconds into ‘Square Face’ there’s a 32 second spell of unaccompanied singing, bookended by silence, that enchants and delights causing stern countenances to crumble and resistance to her songs to fade away.

There’s something magical in the sound of this record and her voice is only a part of that. At one level I had a strong sense from the opening track ‘Where Shall I Begin’ of Christmas, with all of the anticipation and wonder that it contains. At a deeper level it’s music that can transform your world, or at least inspire the kind of reflections that might make a difference. It’s hard to explain but I know people who have been affected similarly by ‘Hallelujah’. Its ‘tingle quotient’ is off the scale.

I shouldn’t forget that this is a review, so I should let you know what kind of music it is. It’s hardcore gangsta rap to a death metal backing. Only kidding. For the most part it’s gently strummed guitar, and some hushed reverb that’s both soothing and conducive to reflection. It’s folk, but it doesn’t sound like it.

Chloe Foy has her own voice in more ways than one and this is a lovely record that can be enjoyed for its own sake.

Taster Track : Square Face

Afternoon Frost : Gnac

This instrumental collection is undemanding but always engaging , offering simplicity and warmth in its gentle melodies.

The name of this act is pronounced like the last four letters of cognac, and like cognac its effect is comforting.

The music perhaps takes its cue from Beethoven’s ‘Moonlight Sonata’. Simple melodies are the starting point before being overlaid with dashes of pop colour. It’s lovingly small scale, neither portentous nor pretentious. It never pretends to be more than it is, content to provide enjoyable tunes that lighten the day. This is music that is tucked away in the corner, never seeking centre stage. It triggers contentment and warm smiles.

These tunes are the work of creative imagination rather than a representation of deep feeling. It’s less of a musical Proust and more of a gentle down to earth Elizabeth Gaskell, less concerned with deep reveries and considerations of madeleine cakes (although what’s wrong with that?) and more the quiet bustle of the Cranford farmers’ market.

To a layman it sounds as if it's underpinned by musical scales, but what’s wrong with that? What it means in practice is that everything sounds just right and in its place.

What appeals most about this collection is that for every record that’s hyped to the nth degree, there’s a bargain filled with little gems waiting to be discovered at the back of the store. This record is it.

Taster Track : Cinematografica

Afters : The Helicopter of the Holy Ghost

This moving collection of songs is melancholy and thought provoking. It comes with an interesting back story too.

What would you do if someone handed you some demo tapes that you’d never heard before? What would you do if you were told you had written them? That was the situation faced by Billy Reeves, a member of a couple of bands around the turn of the millennium. He achieved minor success as the man behind theaudience (sic) who had a great song at their peak (‘A Pessimist Is Never Disappointed’) and that introduced Sophie Ellis-Bextor to the world.

Billy was the victim of a horrific hit and run accident that left him in a coma for two weeks, and a year in and out of hospital. He recovered and retrained as a successful journalist. Years later his brother gave him two minidiscs of demos, found at the accident. Billy had no memory of them or the inspiration for them but they became the basis of this album.

I suppose we should be wary of imposing the back story onto our understanding of this album but that’s not going to stop me. There’s an absence at the heart of these songs. Perhaps it’s closure, perhaps it’s an absence of certainty. It’s in the album title. Is it suggesting that the main events are behind you, as a dessert follows the main meal? Or is it suggesting that there are consequences to what happened that can’t be ignored, in the sense of a pitch battle at the end of a football match littered with dirty fouls.’The End Of Loneliness’ could suggest that you will be lonely no more, or it might say that you cannot be lonelier than you are at the moment. ‘You Too’ searches for responsibility and accountability for past actions.

We can be clear on one thing, any absence isn’t a weakness. These are fully rounded songs, dramas built around an emotional core.

Billy Reeves has formed a band from people around at the time, playing in bands such as Engineers, Lost horizons and, crucially, The Bluetones. I say crucially because Mark Morriss of The Bluetones takes the vocals. He has a voice that sweetens the melancholy and invites you to listen. It’s perfectly suited to the anxiety of ‘Difficult Song’ and to the regret of ‘I Didn’t’. Musically the songs are piano led, although with plenty of room for blazing guitar solos as required. They’re an easy, if haunting listen replete with echoes of the 00s and earlier, even the faintest traces of Gilbert O’Sullivan shorn of cheesy jolliness.

This is an excellent record. The final versions may not be what was envisaged when they were written, but they make for a powerful and moving collection shrouded in emotion, melody and no small dose of mystery.

Taster Track : Difficult Song

And The Rest

Memory Device : Baba Ali

It’s refreshing to hear an album that draws its influences and sounds so widely, and overturns expectations with such verve and aplomb.

Starting with the expectations, I was thinking there would be hip hop and rap (are they the same thing now?) perhaps a bit of RnB funk. They probably are there somewhere. Everything else is but talk about drawing lazy conclusions from stereotypes and typecasting.

As for influences, I can hear synth pop, dance, rock and glam just for starters. And in terms of who can be heard in the mix, at various points I can hear Prince, Goldfrapp, Hot Chip, Heaven 17, A Certain Ratio and even Tindersticks. There are probably all sorts of sub genres at play here too, but knowing what doesn’t add one iota to your enjoyment.

To take one song, ‘The Well’ could be straight out of any rock band reliant on crunching riffs with its initial guitar sound before it softens into something else entirely and culminates in something like an uprising.

There’s no doubt too that this is a package wrapped and ribboned at the connoisseur's end of pop recordings. He’d have been a staple of the John Peel show, and a must for Factory Records and the Hacienda. He’s one of the cool kids and deservedly so.

It’s magpie music, picking sounds from all over the place. If you deconstructed it into its constituent parts, it would be a 1000 piece jigsaw. It’s a performance caught in a glitterball, spinning and revolving in and out of centre stage and lit up by flashes of pop.

Each song is built on a strong and interesting beat, embedding a foundation that attracts all the frills to the party. It’s a record that simultaneously doesn't sound like any of its influences whilst reminding us of all of them.

Taster Track : The Well

Wintermusic : Nils Frahm

This recording is described as an EP but at 30 minutes it’s as long as some albums. It’s a minor Nils Frahm piece but an enjoyable foray into his world of pretty but subdued and melancholic keyboard improvisations.

Although this is not a Christmas album it was originally recorded for Frahm’s family and friends as a Christmas present in 2007. He released it to the wider public in 2009. Clearly someone had left their shopping late so that they missed the Amazon delivery deadlines for 25th December. It certainly beats going to the shops.

There are three pieces here, and each contains sufficient pretty melancholia to support hibernation during the Winter months. It’s a romanticised view, painting a picture in music of snow falling softly after dark, rather than a scene of iced up roads, raw winds and slush. It’s much more The Snowman than the Winter Soldier.

This is acoustic rather than digital, soothing rather than immersively hypnotic. ‘Ambre’ is a tinkly, pretty snow globe of a tune. ‘Nue’ begins the Frahm immersive process, setting us up nicely for the album’s centrepiece ‘Tristana’ which brings us into our calm and chilled zone beautifully.

It’s a lovely album, as all Nils Frahm material tends to be. I’d happily accept something like this as a Christmas gift, and I wouldn't be returning it after the sales.