Just as a crystalline structure is formed through a process of chemical evolution, it seems Jem (Jemma Griffiths) herself is doing just this at her own pace. It’s a process that is very structured, clear, and systematic. She’s no rough diamond, nor is she a polished stone. She’s perhaps somewhere in between, and it all works pretty well for her. But how well is this artistic evolution?
Her debut,
Finally Woken, heralded a new and invigorating girly singer-songwriter whose name caught on, and also whose music did just as well. It also demonstrated the she had the talent to perform and write wonderful takes such as
“They” and
“Just a Ride”, blending trip-hop hooks, electronica beats, a soft, well nourished voice, and charming closets of natural acoustic instruments. She made a sound for herself, albeit, one that was both borderline distinctive and almost to varied to step directly onto.
And now here, we have this new installment
Down to Earth, which despite its title isn’t completely pinned to firm ground. The title track for example, yields an approach similar to that of “They’s” political jabs, and substitutes the subject matter for another serious topic; current world affairs, and the consequential frustration it appears to have on her. Then, we move onto more light-hearted topics such as girl-power freedom in
“Crazy’s” open ended approach. In a sense, Jem’s sort of done this all before, and Down to Earth appears to spring itself into life as being a part two of Finally Woken as it tends to recycle ideas a little too closely to their original castings. The effect is there and not there simultaneously, and in turn is both refreshing and a little retrograding. Yes it’s as confusing as it sounds.
However if you look, there’s plenty worthy material to find, especially in the musical department. The piano composition in
“You Will Make It” is as divine as its inspiration it draws from the lyrics and the well positioned appearance of world/folk singer
Vusi Mahlasela.
“How Would You Like It”,
“Keep On Walking” and
“It’s Amazing” share a common good for well rounded choruses, drawing comparisons to that of previous hits and the likes of
Imogen Heap’s vocal jiggling.
Thankfully, she went for a more delicate approach on this album, relying more on personal talent rather then production window-dressing that often gets used and abused. The problem is her sound isn’t as defined as and direct as it perhaps needs to be; she’s a real blender and the mix of variant styles falls short of her personal capabilities as a gifted musician. The album, like her other, is in two states of both distinction and deviation. While the pair have been coupled well in the past by others, here it’s a little different. It will offer a good dose of some well deserved easy listening, and this is where the album draws a lot of its consequent success. Even if it’s a little opaque here and there, it should still be clear enough to gain positive reactions.
