Blissful melodies which lack conviction
Extremely eager to shrug off unwanted comparisons to the likes of Andreya Triana (and, at worst, Corinne Bailey Rae), 22-year-old Londoner Lianne La Havas has got herself some show-stealing synths for her debut album.
There are plenty of jazz inflections and echoing smoky vocals, which is undoubtedly where the Triana and CBR comparisons come from, and a rising and falling energy. The up-tempo pop moments are over-layered and jarring, packed with a host of bleeps and chopped samples (see: ‘Forget’). Meanwhile, the second half of the record is sped right down and bleeds into what can only be described as blissed-out-ness.
La Havas’ melancholic moments (see: ‘Gone’) are where she’s at her strongest by far, though it can all feel a bit superficial rather than as if she’s tapping into any kind of gut-wrenching emotion. There are enough dreamlike melodies to sustain your attention rather than zoning out completely, but in reality it’s all just very comfortable.