In the not too distant future, a name you’re about to hear will be inescapable. Word is that what is left of the music industry is very excited. And so they should be. Irrespective of what happens, we’re dealing with a major talent. One that really rocks in reality, not just on paper.
“Adiam Dymott” is the album I’ve eagerly awaited since I first heard a song called “Memory Loss” last summer. The condition of the same name that I intermittently suffer from started way earlier. Kicking off with “John Denver” it’s evident that this expectation has not been in vain. Ten nuggets of loud, crunchy pop magic crossed with a spiritual hip hop persuasion await anybody who enters here.
Each and every cut is wilfully commercial. Taken individually, it’s actually ten one-sided singles backed up ready for take off. I imagine that you’re already familiar with “Miss You”.
Ms Dymott has taken that classic Roxy Music swagger, added a heady dose of shake appeal and delivered something undeniable. There’s an upbeat twist to the relatively downbeat subject matter of the song titles. “Today Was Just a Downer” will make yours anything but.
The percussive attack of “Black Cloud” (maybe some mad mental Indian chief?) is phenomenal. Imagine the finer elements of Exile on Main Street and think of how they might have benefitted from a Wall of Sound treatment. When the bright white lights hit the audience at the point of guitar ignition then pandemonium will ensue. I hope to be right down the front at just such a stramash before very long.
“Holiday Inn” (not the Stereo Total song) closes things with an almost Auld Lang Syne meets Sam Cooke refrain with a big rolling BCR (Bay City Rollers – you got a problem with that?) anthemic guitar lollup. Runrig vs Sigue Sigue Sputnik even. It takes the pace down a notch and fires up the emotional quotient. Absolutely fecking beautiful. There could well be tears, depending on how liquored up any given crowd gets. Of joy, natch.
