It isn’t suited and, in turn, restrains her in the process.
Again, the production and backing take complete control but this time it’s to Moyet’s disadvantage it sounds extremely overproduced, with her vocal rather robotic and contained. Meanwhile, following track Changeling leans towards mid-to-late Madonna, with its touches of R&B and full-blown synth-pop.
Here, Moyet’s vocal takes a backseat it’s rather modest and reserved, with beats and the track’s production at the forefront, while Sigsworth’s combined use of electronica and panning is effective, particularly if you’re one for wearing big headphones. In essence, she wants to be seen as relevant – and her partnership with Sigsworth offers that chance.Īlbum opener Horizon Flame highlights Sigsworth’s influence from the off, with its Björkesque Homogenic strings and beats pulsating in the background and producing something in-between experimentation and head-on pop. Instead, Moyet has determinedly gone out to produce something that asserts her musical talent and holds wide critical appeal. Many will still lazily associate Moyet with Yazoo, in turn making her an easy target for those clamouring for 1980s nostalgia and a return to old territory. Moyet’s point about producing an album that consciously shirks the desires of the market – and of middle-aged women – is telling. This has easily been my happiest studio experience.” She adds: “We have made an album mindless of industry mores that apply to middle-aged women and have shunned all talk of audiences, demographics and advert jazz covers.
“Sigsworth returns me to a programmer’s world,” she says, “and marries it with perfect musicality. Indeed, even before listening, the minutes seems more of a paired effort than a purely solo one for Moyet – Sigsworth co-wrote and produced the entire album. No matter, most were here for the hits and even on a Monday night, the Enmore turned Blue Light Disco to the soaring synths and pounding beat of Don't Go and Nobody's Diary from Moyet's time with Yazoo in the early '80s, and Love Resurrection from her first solo album, Alf.While recording the minutes, her first solo album since 2007’s The Turn, Alison Moyet said she avoided listening to any music beyond the studio, so concerned was she that outside influences may push her vocals and music in unwanted directions. Instead, she wholly entrusted herself to the hugely versatile songwriter-producer Guy Sigsworth, famed for his work with Imogen Heap (Frou Frou), Björk and Madonna. But it would have been great to hear her smoky tones wrapped around some proper blues. Performing 2007's The Man in the Wings – a stripped-back ode to the connection Moyet feels with her gay male fanbase – was the highlight of the newer material. However, opener I Germinate wasn't the only song to suffer from booming, synthesised drum 'n' bass steamrollering some of the subtlety from her vocals. Her contralto voice unchanged from her '80s radio heyday, Moyet didn't shy from showing us what she has been up to lately, too.Īmong the tracks from this year's Other album, Beautiful Gun was a highlight, the 56-year-old rocking the mic stand like a boss. So it was that we got to see her come on twice, which, given she has not been to Australia since 1987, you might call making up for lost time.
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