So some may
consider this a surprising artist to pop up on this blog, seeing as I generally
tend to cover fairly underground – and almost exclusively dance-based music.
But I’ve never claimed to cater only to a certain music style or scene, and I’m
certainly not one to disparage an artist for the sole reason of their
respective success. There’s something that can be fantastic about pop music,
and whilst I partly understand the desire to ignore the mainstream, I feel that
there are a few select artists who are genuinely making incredible music within
this area. This can perhaps be no better exemplified than Paloma Faith, who has
been making captivating music since her debut release in 2009. Infinite
Things is her fifth album.
The album
begins with the 1980s-influenced ‘Supernatural’, which brings all the trends of
that era, including the strong synthpop influences, and the powerful vocals
reminiscent of the female-led power-pop of the day. Indeed, this is
unmistakably both pop and powerful, with plenty of belting to demonstrate her
incredible vocal prowess straight away. ‘Monster’ then follows, a real catchy
number which instrumentally is more minimal – being a clear display for the
vocals. There’s a bit more instrumental addition in the chorus – being very
synth-driven – with a simplistic but solid bassline. And then we have the
single ‘Gold’, which many have been enjoying for a couple of weeks now, and is
absolutely magnificent. With its gospel-inspired backing vocals, and the almost
primal cries throughout, this is pure pop perfection; exactly what we’ve come
to expect from Faith, and the best display of her style and talent.
‘Falling Down’
is then another heavily vocal-based song, which – when your voice is as good as
Faith’s – is a good idea to have as many of as possible. The chorus is
admittedly slightly underwhelming, not really building on the verses at all,
but it’s still a nice tune. ‘Infinite Things’ is then the title-track – another
synth-led piece with a clear ’80s influence. Whilst starting off sounding a little
lesser than one might expect, as the piece develops it becomes clear that this
was in fact an excellent choice. The slightly subdued nature of the music
really highlights and compliments the excellence of the songwriting,
demonstrating just how well it stands. There are some really nice harmonic
choices in the chorus, and the backing track continues to build, with some
suitably orchestral involvement by the end. Next, when ‘If This Is Goodbye’
begins, I can tell I’ll love it immediately. It’s very held back, with just
piano and acoustic guitar to start, showcasing the great thing about Faith –
that the songwriting is so strong she doesn’t need any fancy tricks or frills –
and of course her wonderful vocals are the icing on the cake. With its beautiful
chorus, this is easily one of the best tracks of the albums.
‘Better Than
This’ was the album’s first single, although it’s not quite as powerful as
‘Gold’; it’s a very typical Faith song – undeniably her, and couldn’t have
worked anywhere near as well for anybody else. In some ways though, this might
be its own downfall – it’s so definitively her that it’s a little formulaic and
predictable – I would have like a few more unexpected elements. That being said
though, it’s still a very nice song – especially the chorus. ‘Me Time’ is then
another solid pop tune – a little bit jazzy too – and this is what I really
wanted to hear from a new Faith album. It’s a bit understated in parts, but
elsewhere it’s quite musically advanced; and Faith demonstrates her huge range
– from her lowest depths up to her highest capabilities. And then ‘If Loving
You Was Easy’ is another that’s very held back – similar to ‘If This Is
Goodbye’, though not quite as strong. The backing vocals are great though –
being almost choral in parts; and it’s notable that even in these understated
songs, there is still a powerful impact. ‘Beautiful & Damned’ is easily the
most ’80s inspired of the album, coming off rather cheesy as a result. The
drums, the synth, the reverb – all add to the mix to create this effect,
although I worry that these elements are somewhat masking the fact that it’s a
slightly weaker piece overall. The fact that it’s the shortest song on the
album confirms that it’s likely just filler.
‘I’d Die for
You’, though, returns us to another firm, upbeat mood, with some quite
Latin-inspired, syncopated rhythms. The Western instrumentation makes it a nice
example of fusion in a sense then, and there’s certainly quite a contrast
between the different sections. Again, this is another song with fairly
advanced parts compositionally. Next up, ‘Living with a Stranger’ is another example
of pure pop. Whilst catchy, it’s not particularly innovative, and perhaps a
little forgettable overall. However, there’s bound to be a few tracks that miss
the mark slightly, and it’s still much much better than the derivative nature
of much contemporary pop. And it’s a grower too, which one will surely find
themselves enjoying more and more as it goes on. And finally, ‘Last Night on
Earth’ is indeed a very interesting one. There are all sorts of influences
present, and the song manages to sound somehow acoustic, and synth-led at the
same time. This effect is achieved through some really top notch production,
and whilst this is very far from the type of bass-driven dance music I usually
cover, there are some very subtle elements that seem to be utilising some of
the same techniques. The chanting sections work exactly as planned – which is
excellently; and there’s a great chorus – it’s a great choice to end what is
largely a great album.
Inifinite
Things is very enjoyable overall, and will certainly be welcomed warmly by
Faith’s dedicated fans. Tracks like ‘Gold’ and ‘If This Is Goodbye’ easily
stand amongst her best, and the overall strength of the album is seriously
impressive. There’s been an interesting deviation from her usual sound here as
well – with a really notable influence of the 1980s throughout, when previously
her sound was generally typified by pre-1960s sounds. So whilst the distinctive
feel of music still very clearly belongs her, there’s been some obvious
progression too, which she’s done admirably. Obviously, Faith has an
extraordinary voice, a fact which is so undeniable as to almost go without
saying; and I’d recommend this release to anyone, even those usually averse to
standard pop music – I’d be surprised if this didn’t prick up your ears, and
make you pay some attention. I genuinely can’t imagine anyone coming away from
this without experiencing some real appreciation; and thus, Infinite Things is
a wonderful addition to Faith’s back catalogue.
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