By sheer serendipity, I stumbled upon Grace’s music on Tuesday. She unveiled a collaboration between herself and one of my favourite, cherished London-based singer/songwriters. This artist is renowned for her tantalising, atmospheric blend of contemporary R&B/Soul and Latin Pop. The track “25” serves as a testament to the soundscape she is poised to champion.

A discernible contrast is evident between the opening and closing tracks of the EP. The opener, “Sunshine Kid,” reveals itself as a beautiful piano ballad, while the closer, “Last Girl” – my personal favourite on this record – emerges as the most experimental and resounding stadium anthem tune within this collection. It’s a track that pushes genre boundaries, representing a perfect and synergetic blend between “Riot Girl” Pop-Punk (reminiscent of “Bikini Kill’s” hits from the 90s) and synth-pop.

This record has taken my breath away. Here’s my rating for each song on a scale of (1-10):

“Sunshine Kid” – 10

“Good Days” – 10

“Oxytocin” – 10

“25” – 9

“No Grown Ups” – 10

“Redwood Curtian” – 10

“Last Girl” – 10

Rating/Excellent: Looking forward to her success; an exciting career ahead of her!)

[We rank albums on a scale of: Poor, Good, Mediocre, Excellent, Outstanding]

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Thomas Charlie Pedersen is a Danish folk singer and songwriter who is also a member of the Danish indie band, Vinyl Floor. Employees Must Wash Hands is Thomas’ third solo album and was produced alongside his brother, Daniel Pedersen.

Album Review

With slow guitar riffs, introspective lyrics, and changing moods, Employees Must Wash Hands is an album with many layers, all of which are pieces of a larger emotional story.

Admittedly at first, I thought I wouldn’t like this album, the first two tracks felt like an attempt at pretending to be The Beatles and, besides the instrumentation, didn’t quite grab me in the way opening tracks probably should. However, the ball gets rolling with the third song, Slow Passage. A moody and emotional song with a gritty guitar riff throughout, Slow Passage is where the album’s depth deepens and sets the tone for the rest of the songs thereafter.

The following track, Rains on Saturn, is one of my favorite songs on the project and embodies the neo-noir ambiance of the album. If Sitting at an empty bar was a song it wouldn’t sound too dissimilar from this, the song is as lonesome and melancholic as the bottom of an empty glass.

Another highlight is Fiddler & the Travesty, a brilliantly written song that I think has some of the best lyrics on the album. “Singing his heart out to no one, he must not sing forever” is a poem that encapsulates Pedersen’s story of a singer struggling with life’s balancing act. The gentle strokes of piano keys contrast the darker lyrics nicely and give the song a great gothic and atmospheric tone.

The second half of the album really shines and has the best moments on the album. The somber atmosphere of Organ Prayer is almost as soothing as it is sad, and the narrative duo between Beach in Vietnam and Stagnant Pools of Sorrow ties up the album’s narrative perfectly.

However, songs like “Yesterday Silly Ways” and “Coarse Rasp of Yore” get in the way of the track list’s best moments with upbeat production that doesn’t fit the rest of the album. I understand that Pedersen might not want to make an album that’s completely pitch black and darkly themed, however, those dark moments are the ones that, ironically enough, shine the most.

Score/Excellent: Pedersen proves his songwriting ability and his brilliant producing skills on this somber, emotional album. There are a few songs I dislike however these are far and few between. The album overall has a lot of impactful moments and is brimming with talent.

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[I rank music on a scale of: Poor, Mediocre, Good, Excellent, Outstanding]

Written by Jake Campbell

jakejcampbell123@gmail.com

The post Thomas Charlie Pedersen: Employees Must Wash Hands (Album Review) appeared first on Music Review World.

The charisma radiating off ‘Erotica’, an Indie/House song that champions CAROLYN’s skills in lyric writing and composing, immediately feels like something that should be expected from an artist already practiced and well-versed in their music style, not from a musician taking their first step into the industry. It is impressive then, that CAROLYN sounds so self-assured and comfortable on this track, which is a quality that makes ‘Erotica’ even more enjoyable and mesmerising to listen to.

As soon as ‘Erotica’ springs to life, the listener is transported to a faraway setting as melodious vocalisations pleasantly greet their ears and a sprightly dance beat steps innocuously into the mix. CAROLYN’s vocals are no doubt the highlight of this dreamy ambiance; her soothing yet seductive voice inviting listeners to bask in the wistful charm of this track. The starting lyrics also seem somewhat otherworldly: “Erotica, I am so exotica…” which CAROLYN sings in a moody, yet mellow tone that instantly succeeds in captivating audiences from the beginning of the track.

The song’s instrumental is both stimulating with its integration of a steady dance beat and undeniably ethereal; the groovy bass guitar riff beneath the vocal mix adding a light and airy quality to the track that is wondrously addictive. The song retains an even tempo throughout; its subtle incorporation of key elements of House music into an Indie base lends ‘Erotica’ a simple and unique elegance that is just too good to ignore.

The verses are decidedly more stripped-back; CAROLYN’s versatile and resounding voice is omnipresent over the playful bass line. Her delivery of the lyrics “You wanna touch me, you wanna rush me” is suggestive while still maintaining a melodiously soulful presence that diffuses throughout the track.

The appeal of ‘Erotica’ lies not only in the charm of its catchy minimalistic instrumental or the smoky voice of CAROLYN, but in the pairing of lines such as “Your hands on my skin, think about me” and the compellingly evocative tone that CAROLYN achieves through the smooth timbre of her vocals. During the song, listeners will be tempted to sink into this serene ambiance while still swaying to the lively beat.

The song brilliantly illustrates the speaker’s attraction to a love interest; expressing the strong desire she struggles to contain for him (“I don’t know Mama, he’s a problem”). The understated composition of the song really contributes to the tone of maturity and intimacy, with only CAROLYN’s vocals at the forefront of the mix.

‘Erotica’ soon branches out into even dreamier territory as CAROLYN exquisitely croons “I clear my head, on the beach of Marbella” over the soft strums of an electric guitar. The tropical, beachy feel of the track is amplified tenfold by the arrangement here; a quality that will unquestionably tempt listeners in with its sound of early warming summer vibes.

Finally fading out with some sunny vocalisations and a faint acoustic guitar accompaniment, ‘Erotica’ suitably ends on a celestial note; the echoing of the vocals allowing the atmospheric allure of the track to linger on long after the song is drawn to a close.

Score/Excellent: CAROLYN has superbly showcased her skills both to charm and attract audiences with her expert songwriting and bold voice. From the very first listen, ‘Erotica’s dreamy summer ambiance will appeal to listeners far and wide; effortlessly compelling audiences to submit to the song’s cool fusion of Dance and Indie. This may be the first time CAROLYN steals attention for her captivating voice and smooth music style, but it certainly will not be the last.

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[We rank singles, EPs, and albums on a scale of Poor, Mediocre, Good, Excellent, and Outstanding]

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