Domino Recording Co In 1997 Domino released Pavement's landmark commercial breakthrough Brighten The Corners which was followed a year later by Elliot Smith's Either/Or and in 1999 the debut album by Will Oldham as Bonnie 'Prince' Billy - I See Darkness: a series of albums that confirmed the label's reputation as the preeminent European home of American music. By the time the epic strings have reverberated on closing track 'Love Won't Be Leaving,' you're left in no doubt as to why the industry appears to be so excited about her.Ĭapturing the intensity and raw emotion of her captivating live shows, Anna Calvi is an ambitious and always intriguing debut which heralds the arrival of a unique and inventive addition to the plethora of U.K. Backed by an impressively tight backing band, the likes of 'Suzanne and I,' a future James Bond theme in the making, 'I'll Be Your Man,' which would sit comfortably on Florence and the Machine's Lungs, and 'Blackout,' which evokes Phil Spector's expansive Wall of Sound, prove Calvi isn't averse to delivering slightly more accessible material.īut it's the more unconventional 'The Devil,' which undoubtedly provides the album's highlight, a mesmerizing, stripped-down fusion of classical, rock, and flamenco that showcases her virtuoso guitar skills, and her effortless shifts from whispering restraint to primitive aggression before ending in layers of drenched feedback. But it's on the grandiose 'Desire' when Calvi really unleashes the impassioned post-punk tones that have drawn favorable comparisons with the likes of Patti Smith and PJ Harvey (whose regular collaborator, Rob Ellis, is also here on production duties). Calvi's haunting and intense vocals first come to the forefront on 'No More Words,' a gloriously menacing number which evokes the shimmering distorted harmonies of My Bloody Valentine. Opening track 'Rider to the Sea,' sets the scene immediately, a brooding instrumental whose atmospheric twanging guitars would provide the perfect score should Quentin Tarantino's much rumored Kill Bill 3 ever come to fruition.
But in a music scene dominated by female solo artists, Calvi's romantic but often sinister ten songs certainly helps her to stand out from the crowd.
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Her self-titled debut, therefore, is unlikely to reap the same commercial rewards as the likes of Jessie J and Clare Maguire, its uncompromising, gothic, David Lynch-esque nature certainly won't spawn any bite-size TV ad soundtracks or airplay favorites your mom can sing along to. She may have been tipped for success by everyone from the broadsheet music press to Brian Eno, but her blend of sultry blues-rock and dark, mysterious flamenco is a million miles away from the chart-friendly output of her fellow Sound of 2011 nominees.įind a Anna Calvi - Anna Calvi first pressing or reissue. Citing the likes of Debussy, Captain Beefheart, and Nina Simone as her main influences, it's clear from the outset that Anna Calvi isn't your average, run-of-the-mill singer/songwriter.
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