Variety is the spice of life, and the last thing you want to hear is a formulaic album. But if you try too much at once, the results can be hit and miss. That’s the feeling that emanates from the debut album by London-based Melbournian Miranda Barber.
I’ve approached this review as pragmatically as I can. As such, this isn’t my style of music. It’s essentially charismatic lounge-jazz, and something that is aimed at an older market. Overall it makes for good restaurant music, and that isn’t meant to be derogatory. It’s often sweet without being nauseous. In the hands of other artists, these songs could be made terribly banal, but it would seem they are in safe hands with this stirring performer.
Miranda has a great voice with lots of personality. Songs like ‘The Num Num Song’ display a Kate Bush style melodrama, whilst slower numbers like ‘Bad Man’ show Amy Winehouse a thing or two about moving balladry. There’s no doubting the soul and passion behind this album, nor can she be faulted as a musician. It’s very theatrical – lots of crashing waves and vivid imagery.
This isn’t a straightforward album by any means. A whole variety of instruments are employed, and most of the songs have their own personality. Songs like ‘Paprika Haze’ are delivered cheerfully and that’s infectious, but there’s nothing amazing about it. There is a sense of drama to ‘A Thousand Seas,’ it’s very much a first person narrative, and it’s both sinister and sad. Again, it’s a song with a great deal of character, that builds and you can get involved with it.
You could liken the music to many female musicians out there – Tori Amos (Paprika Haze), and Celine Dion (‘My Roof has got a Hole in it’) should be added to this list. While it’s easy to make comparisons, it cannot be denied that she very much has her own sound. I can’t think of anything that sounds quite like the simultaneously industrial and ethereal sounding ‘King of the Island.’ It’s really stirring.
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There’s lots to listen to, and there will be lots that people like, but it’s let down by the sheer number of slower songs. The quirkier numbers have clear signs of personality that make her stand out from some of her peers, but the ballads are too prominent and do very little to retain the interest. It’s an album with dinner party’s in mind, and as background music it does work very well. It does enough for you to notice, but also fades into the peripheries for large periods of time.
A very accomplished, talented lady with lots of ideas to throw at her first album. When it worked, I found it enjoyable in that the songs leap through several ideas and don’t feel constrained by formula. There is a lot to like here, and for those that enjoy the genre more, this could be a real gem. As an outsider, I saw flashes of brilliance surrounded by prolonged patches of boredom. I have nothing but respect for the work being done here, and I can imagine this being lauded by fans of the genre.
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