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With a building sheath of synth and down on it groove, Lucie Silvas digs in on "Kite," the reckless kind of women who knows no fear. Pounding, pumping, thumping, this is a dance song about a woman getting gone, an admonition to a lover that shows the New Zealand/United Kingdom-grown songstress isn't afraid to throw down. Not that everything the dusty blond lifts her voice to lands that aggressive. For the irrepressible Silvas who can tempest and coo, it's about hitting the emotions bull's eye that lends an immediacy to the songs on E.G.O, the utterly independent project that follows her critically acclaimed Letters To Ghosts.
- Is Discontinued By Manufacturer : No
- Language : English
- Product Dimensions : 4.93 x 5.59 x 0.28 inches; 2.24 Ounces
- Manufacturer : Furthest Point
- Original Release Date : 2018
- Date First Available : May 31, 2018
- Label : Furthest Point
- ASIN : B07DG5CH32
- Number of discs : 1
- Best Sellers Rank: #70,912 in CDs & Vinyl (See Top 100 in CDs & Vinyl)
- Customer Reviews:
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Silvas herself describes the album’s sound perfectly: “I’d say it sounds even more progressed… E.G.O. is influenced by Nashville, but also by what I loved listening to growing up, like Roy Orbison and Fleetwood Mac… I want to take my music to the next level, as far as I can, but most importantly I recorded songs I like. For the first time I made an album without boundaries or limits.” (abitofpopmusic.com)
To paraphrase Silvas’ own lyrics, everything that she says here is true. E.G.O. indeed demonstrates a progression of her sound, and it’s an album of surprises; you’re never quite sure what kind of song is heading your way next. As Silvas alludes to, the songs draw from a number of disparate influences, and the singer is audibly feeling the freedom to make music regardless of its supposed genre. Hence, amidst the sounds of soft-rock, country, soul and hints of the aforementioned Fleetwood Mac, two of the album’s undoubted highlights are winning homages to Motown (‘Everything Looks Beautiful’) and the distinctive, ethereal pop sound of The Beach Boys (‘Girls from California’).
Although her voice now advertises a huskier edge than long-term fans might be accustomed to, Silvas remains a powerful and arresting vocalist who brings passion and poignancy to every performance (which I guess is the primary reason we’re all here either listening to or considering buying this album), and she particularly shines on emotive ballads like other unequivocal album highlights ‘Just for the Record’ and the almost spiritual ‘Change My Mind.’ Other favourites, at least so far, include ‘I Want You All to Myself’ and ‘People Can Change.'
At least in terms of Silvas’ career to-date, E.G.O. follows hot on the heels of her previous release (2015’s Letters to Ghosts), and the singer acknowledges that “it took me a lot less time this time.” In fact, it seems as though real work on the album didn’t properly begin until mid-2017, at which point “I started to panic a little because I was like ‘Oh I should be doing it right now but I don’t really have any songs yet’.” Does this album reflect its swifter genesis? Not really, although I’m not sure if E.G.O. possesses its predecessor’s number of true stand-out tracks, and just once or twice songs fall a little short. The other minor niggle is that I occasionally find the vocal production distracting; I prefer Silvas’ voice to be further forward in the mix, with the effects (whether it be the reverb or double-tracking) toned down. On the whole, however, Jon Green’s production is first-rate, and it’s also worth mentioning the album’s classy arrangements, which play an instrumental part (literally) in adding the colours to Silvas’ broad musical canvas (most memorably on ‘Everything Looks Beautiful,’ ‘Girls from California,’ ‘Just for the Record’ and the thrilling middle-eight of ‘Kite.’)
E.G.O. is another fine album from Lucie Silvas, and to conclude, I return to the singer’s own summation of her new record: “Musically it’s very bold, and lyrically it’s got a lot of character to it.”
That’s not just her ego talking – she’s absolutely spot on.
During the wilderness period between her pop records and these records, Lucie had written several amazing tracks such as 'Coming Out Wrong', 'Remember Me', 'Those Hands', 'Hurricane', and 'Return To Earth' which would have easily fit into her prior work, or could have easily been adapted into this new sound. It makes me wonder if there is some room for compromise in her future efforts. Keep the Americana, just infuse it with a bit of pop.
A good mix of new varied material ranging from 60’s sounding backtracks to country to pop.
Lucie is constantly evolving and trying new styles whilst maintaining the usual high standard of vocal delivery.