There have been a few changes in Jess Vincent’s life since the release of Shine back in 2015. She’s become vegan for a start. However, the most significant is the fact that she and her partner, Jozeph Chowles, have moved from Wiltshire to Bulgaria where, indeed, the bulk of the album was recorded, partly in the home studio from which the label name comes, and that, unlike her previous releases, all the songs here are solely Vincent’s work.
The good news, though, is that there’s been no major musical upheavals in the process, although the new environment does feed into Chowles’ arrangements, Eastern European hints surfacing here and there, such as in the Indian harmonium drone that permeates the pulsing ballad ‘Follow’, on which Vincent’s vocals are well back in the mix, although, having said that, the twang to the guitar would be more at home in Utah.
It opens on sparse, dry banjo notes with the tempo-shifting ‘The Way It Is’, bursts of guitars and percussion making their presence felt in the faster flurries, Vincent’s high pitched warbling vocals sounding especially effervescent. I’d assume the title track, a languorous number picked out on a minimalist repeated acoustic guitar phrase, a muted percussion rumble surfacing towards the end, lyrically addresses making the big move and, as she says in her notes, facing her demons.
‘Stranger’ is another relatively muted number, the vocals again held back in the mix, opening on single ukulele notes before the arrangement fleshes out and those Eastern European colours seep into the gradually gathering melody. ‘Ghosts’ shifts continents, the crooning backing vocals, harmonium and harmonica evoking sprawling mid-west landscapes over which the melody ebbs and flows. Harmonium again provides the bedrock on the gently dappled ‘Ballerina Dreams’ with its dreamy, shimmering ambience and lines about seasons changing beneath her feet, by which point you’ll have clocked that this is a generally musically reflective affair, with no rock storms lurking unexpectedly in the wings, although the steady march beat ‘Cherry Tree’ does kick the sonic level up a notch or two with its electric guitar breaks and the backwoods gospel feel to her vocals.
That same Appalachian sensibility is also evident on ‘Waiting For You’, a simple but particularly lovely number with its undulating , tinkling electric guitar notes, wheezing harmonium and music box-like melody.
Of the two remaining numbers, ‘Holiday’ takes an early hours, slow bluesy lullabying waltz approach and what could possibly be described as a narcotic Chris Isaak/David Lynch mood, while ‘Won’t Be Long’, a yearning brushed drums mortality-themed folk gospel slow shuffle, sees the album out on campfire in the pines harmonica and picked acoustic guitar notes that bundles together familiar thoughts of Iris deMent, Dolly Parton and Nanci Griffiths.
The dictionary definition of a lion’s den is a dangerous or frightening place, but there’s no need to approach this with caution, just jump right on in.
Artist’s website: www.jessvincentsings.com