Liejacker - Thea Gilmore Album Review

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Album Review

Thea Gilmore is a peculiar talent. She's someone that most people musically in the know have at least heard name-checked, and yet she's had very little in the way of mainstream success, despite unrelenting praise from the likes of Uncut. And this lack of mainstream acclaim sure hasn't been for a lack of trying - still yet to turn 30, Liejacker is her 8th studio album, and with three EPs in addition, she certainly can't be accused of not being prolific.

And yet at times, when listening to Liejacker, you have to concede that this is probably her own fault. While the music is accomplished and undeniably pleasant (if a little on the morose side at times), it quickly fizzles out into a sea of unmemorable melodies after the initial rush of recent single 'Old Soul' and 'Black Letter' have passed. "Dance In New York" quickly manages to outstay its melancholy welcome, but not take the hint, lingering on for nearly 7 minutes. Undoubtedly personal, it takes a great song to manage not to grow dreary after such a long spell, and this one sadly doesn't manage to make it.

Things immediately pick up with the more catchy and upbeat sounding (though less so lyrically) 'Rosie' which succeeds through its simplicity and enjoyable mix of instrumentation. 'Roll on' proceeds to add a darker air to proceedings which at times feels at odds with Gilmore's voice, but still succeeds in being a standout track. From then on however, the album takes a turn for the forgettable, and tracks begin to blend into one, or be forgettable enough not to urge any immediate repeat listens. This lasts until it gains some personality from Gilmore's breathy vocals - delivered in a creepy whisper on "You shall know no other God but me" and with impressive range on "Breathe". The album closes with a cover of "You Spin Me Round (Like a Record) which delivers a more lo-fi version of the 80s classic, but somehow manages to lose some of the eerie charm the original always had going for it.

And so you're left with an album that's obviously very personal to Gilmore, but that is in desperate need of some editorial control. Like Ryan Adams, she is hugely prolific and obviously talented, but sometimes at the expense of knowing when to stop. Liejacker isn't a short album by any means, and this plays against it when it manages to outstay its welcome with the relaxed, slow delivery of some of the songs. This is fine for the memorable numbers, where you feel like you can genuinely share a moment with Thea, but less so for the forgettable indulgences which at times have you reaching for something with more pace, more enthusiasm and more instant kicks.

Give it the time, and you will grow to love the mature sound of Liejacker, and Gilmore fans will find something to love even in the songs I don't have the time for, but music enthusiasts should be aware that this album has Ryan Adams syndrome: moments of greatness, sporadically spoiled by meanderings that could have been left for a rarities and b-sides album. Your mileage may vary.

Alan Martin