HAPPY NEW YEAR! Welcome to the first review on Data Girl’s Rabbit Hole, I have once again hand selected tracks, of not only music I enjoy; but also artists I have seen perform either in the flesh or on a live stream with the exception of Banners. I honestly do not feel like wasting time on a preamble, so I am going to trial by fire right into this review.

PRETTY IN THE DARK, JEMMA JOHNSON

I remember the first time that I saw Jemma perform live, she had opened for my boss Tony Moore during one of his AWAKE performances at The Camden Club. I thought she was FUCKING killer, which is what I messaged Tony during her performance while I was watching the livestream. When I saw that Jemma had recently released Pretty in the Dark, I knew that it had to be one of my first reviews of the year. The first thing, that I noticed about Pretty in the Dark was the cadence and timber of Jemma’s voice as she hits each vocal note with a strong sense of clarity. Pretty in the Dark has long melodic notes that add to the effect, from a type of innate determination that flows throughout its melody. One section of Pretty in the Dark that I relish is the lyric “I know it’s hard for you to really grasp just how an open heart can close as fast, please don’t ask.” Right there pure heartache, how is that we as humans are able to peel back our layers and allow vulnerability to take over in a fashion that renders us defenseless and shut it off — just as quickly. It is a kind of mind game which questions, when the music toward the end of this track escalates it offers a mellow back beat with intense lyrics that yearn for a genuine queried response. I would say that the vocals are the centre stage of this track as the music compliments and cradles Jemma’s voice in a manner that is conducive to someone being entrusted with the verity of a human being and offered layers of assurance. Another lyric reminds me of Walt Whitman’s “You will hardly know who I am or what I mean.” which is “Yeah, that’s me, the part of me that you never see, Pretty in the dark.” Without fail an instance of human idiosyncratic characteristics that may be so beautiful and broken in a fashion that enhances the elegance of said human being.

LOVE, ISABELLA COULSTOCK

When I was in the UK in October, I was lucky to watch Isabella perform live both at the Hyatt Hotel, and at a birthday party. Isabella has this genuine essence, a sweetness with a slight edge that is highlighted throughout her performances. When I first heard of Love, I was very excited to see what this track offered as I have enjoyed previous tracks of hers (Broken). The sweetness of Isabella’s voice comes out in droves throughout LOVE. This soft melody and voice accompaniment reminds me of a time within the description Isabella gives of this track, of lovers trapped in a bottle sent to sea on a wish. “When we speak, and your lips are all I see, I wanna tell you I need you, tell you need now; but your miles away, miles away somehow.” This scene right here, being in front of someone where they are able to see you and you just want to feel the comfort and love of who and what they are. The level of tenderness in the vocal track is consistently exhibited throughout Love. Ok, I have seriously had to start Love numerous times because I completely get lost in Isabella’s storytelling, the scenes unfold through my mind’s eye. I also, must admit that I genuinely relish Isabella’s book reference, and the appreciation of the intimacy between the reader and the book. How we never know what is happening covertly within a human being unless they are able to verbalize the level of depth and emotion. I agree with what Isabella is saying about “never wanting to give it up” it offers a strong recollection of a type of familiarity of synchronicity that brings with it a very sacred space between two individuals and a very special moment. Not in time; but the spaces between time, that is where the majority of the magique comes from if one is willing to offer up the chance to truly feel it.

BLOOD AND ROSES, TONY MOORE

Ok, so most of you know, that I work in the music industry and my boss is none other than Singer/Songwriter Tony Moore; that being said it is a very rare gift to be able to write about a song that was sent to you as it was being written. The narrative of Blood and Roses truly pays an enormous amount of respect to not only Meat Loaf; also, his experience with regard to the Kennedy Assassination that occurred 60 years ago this last November 22. I have heard so many songs written by Tony, there is something that he does with his voice that I simply relish, where the emphasis of lyrics in a controlled sung scream. Just listen to the lyrics “where the president’s been shot” there is such a beautiful gravelly quality to Tony’s voice that I have rarely heard throughout his body of work that houses such a truly fitting tone within Blood and Roses. I have listened to Blood and Roses numerous times, and went back to research the recollection of the story. Tony really hit every single benchmark of the historical account that enhances the quality of this song and pays true homage to the record of accounts which occurred on the day that the assassination took place. The minute you listen to the opening bars of music, you clearly know that Blood and Roses is going to be a powerful tune, with the presence of a repeated melody over the vocal track. It is consistent in sound, however, there is a slight escalation with each round of repetition, that definitely has the proclivity to elevate a heart rate simply by listening to it. And, while we are discussing the vocal track another section where Tony does that gravelly vocal scream that I genuinely adore “a sight I would never forget” you need to listen to Blood and Roses in appreciation of so many qualities between, vox, musicality, and story telling that is on over-pour with a ridiculous amount of pertinent facts.

FIGURE OF 8, NATALIE SHAY

The first time I heard of Natalie Shay was on Tony Moore’s Musical Emporium. I believe the song that was played was Two Sparks, from that moment I loved Natalie’s music. It was so much fun to watch her perform via live stream at The Bedford Christmas party a couple of weeks ago. I love the way that Natalie weaves self-affirmations within the structure of lyrics. Figure of 8 to is a poem placed to music in a fashion that honours both a strong balance between poetry and musicality. I listen to Figure of 8 and am reminded thematically of I Will Survive, and the strength of endurance absent some toxicity that has been presented by other humans within the course of our lives. The quarter notes which complement the cadence of Natalie’s voice are exquisite, it is incredible what we as human beings put up with for the adoration of others, even though they have the capacity to truly break us when we allow them to do so. A trait that is clearly exhibited in these lyrics “Don’t come any closer, Cause it’s written all over your face, No point starting over, When I know that you’ll do it again, You look so good through tinted glass” it is actually truly brilliant, forgiveness is one of the most powerful things that we as humans can explore for the nature of our soul. However, there is something to be said about that push when those we once adored tried to find their way back in the crevice of our arms with a careless demeanour intact. The morsels of desired affection and almost a yearned release for any form of emotional scraps that can render someone a slight glimmer of hope. One that is believed, to grow stronger, even though at the end of the day the release of a tortured soul is the ultimate recourse for the human who annihilated our state. And, what perfect symbolism for the title, a figure eight symbolically has no beginning and no end, an endless loop that is consistently woven into itself in a fashion that offers no respite until that figure eight is broken and stretched out into a singular line.

THE BEST VIEW IN LIVERPOOL, BANNERS

Banners has always had me hook, line, and sinker. This track holds a special place in my heart because and here we go, with another UK tether from my trip in October. Liverpool for me not only holds a dear corner of my heart because I was able to properly explore the home of The Beatles, but also the manner in which the Liver Bird sits and watches the city from the highest peak. It really is such a beautiful city and Banners encapsulates that throughout the lyrics. Banners soft yet powerful melodies and impactful lyrics once again has stopped my core with the true eloquence of expression. The energy of the song, is one that would begin in a slow walk, enjoying the manner in which the wind blows and then transcends to a slightly faster pace that escalates a heartbeat with the excitement of being in the arms of a lover, yet in this instance the lover is the encapsulated elements that surround Liverpool. An open monologue encased in love in its purest form is truly the biggest blessing, to be able to appreciate everything about one thing. The manner in which Liverpool is written about, makes it sound like it is a living and breathing entity with a heart that beats as wild and true as an excitable human begin that offers you the best of who they are at any given moment; in a static setting that brings with it a pure sense of unadulterated joy.

So, there you go, 2024’s first thoughts on songs that mean so much to me for a myriad of reasons. I think the one thing we have to ensure as human beings is the capacity to be truly honest in our endeavours, the affection I have for this industry is immense.

If you would like to have your music reviewed, you can email queries to me datagirlsrabbithole@gmail.com.