Siobhan Donaghy: Ghosts
Siobhan Donaghy's Ghosts is unrecognisable from her Sugababe days
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Tuesday, 26, Jun 2007 12:00
Parlophone, out June 25th.
In a nutshell.
Haunting, experimental, deep, intelligent, left-field pop
What's it all about?
Following the flop that was her first solo album Siobhan Donaghy took some time out to read, travel and explore new genres of music. After working with producer James Sanger, known for his work with Brian Eno, Keane and U2, she is back with a brand new collection of songs that showcase her much understated vocal abilities as well as her outstanding song-writing talent.
The album's first single, Don't Give it Up Don't, seemed to slip by unnoticed, but it actually deserved much more credit that it got. Immediately reminiscent of early Kate Bush with its vocal acrobatics and lush orchestral backing, it gives the listener a small taste of what the album is about.
But despite what some critics have said this is not just a Kate Bush fest. A whole host of other influences including the Cocteau Twins, Tori Amos, Enya and Annie Lenox can be heard creeping though on this album and they all combine to create something quite unique.
From the dark, swooping chorus of Medevac, which tells a terrible tale of drug addiction inspired by producer Sanger's own battle with heroin, to the soothing verses of Hacylon Days, which samples Massive Attack's Teardrop, no song is the same, yet all seem to flow together to make the album more of an experience than just an assortment of tracks.
The only song that doesn't really fit is 12 Bar Acid Blues. That said, it does grow. It is a pleasing pop ditty which tells a comedic tale of travelling complete with all the usual cliches including lost luggage and diarrhoea.
The gem of the album, however, has got to be the title track Ghosts. This is Donaghy at her most experimental and, in my view, her best. Random words and backwards production trickery combine to produce a peculiar yet harmonious sound that works well in the context of the music. The result is a song that is every bit as haunting as its title suggests.
Who's it by
No matter how hard she tries Siobhan Donaghy will never be able to shake off the label of ex-Sugababe. She first hit the music scene at the tender age of 14 as one of the original trio but left the band in September 2001, disillusioned with the direction in which the pop world was taking her, to pursue her own style of music.
And pursue it she did. The delights offered up on this latest album could not be further from the pop ditties she churned out with former bandmates Keisha and Mutya. Now aged 22 she is unrecognisable, both musically and emotionally, from the troubled teenager that left the Sugababes six year ago.
As an example.
"I hold out my hand, for you to help me down / Concoct me up good, I wish somebody would / I'm pacing ahead, can't shut down my hand / Like a ship in the night, like I'm losing the fight" - Medevac
Likelihood of a trip to the Grammys
Unlikely. Donaghy may just be able to get Ghosts past the untrained ear of the masses but it is unlikely to enjoy the level of commercial success it would need in order to win awards.
What the others say
"Liquid-like, mature, sophisticated pop, with just the right balance of dreamy fantasy and terse grit, Ghosts is a veritable work of art." - BBC
"This is an album of grown-up pop music with none of the dull bits such a label implies. Now she just needs to persuade the nation that an ex-Sugababe is a worthy musical investment." - Popjustice
So is it any good?
On first listen, and without a little open-mindedness, this album could easily be passed off as a mediocre attempt to emulate Kate Bush and anyone expecting immediate pop hooks is going to be disappointed. But give it a chance and it really does grow and grow.
The more you listen to Ghosts the more you are taken in by its ethereal, slightly gothic air and its understated yet highly emotive lyrics. The title track is a perfect example. At first it is odd and slightly hard to fathom, yet it soon becomes likeable, then loveable, before transforming into what can only be described as musical escapism at its best.
Donaghy proves she is not afraid of taking risks and true music fans will thank her for it. The ingredients served up here are imbued with the influences of distinguished artists past, yet the overall meal created is one that it truly unique and quite special.
The only criticism I would have is that I wish Donaghy had been a little braver across the whole album as it's the more experimental tracks, like Ghosts and Medevac, that make this album what it is.
While no song can be described as poor there are some that are more commercial than others, most notably 12 Bar Acid Blues and Sometimes. However they by no means take away from the overall impact of the album and indeed are excellent pop tracks in their own right.
Those who dare to venture beyond the manufactured pop fodder that fills much of the charts and buy this album will be rewarded with a gem of a record that is nothing less than a delight to hear.
9/10
Gemma Roskell