Nancy Elizabeth is from Manchester and Dancing is her third album. It is, according to her website, the
most stripped back and bare boned of her works. A self produced bedroom folk album at face value, a quiet masterpiece when you
listen more closely.
Dancing has more
in common with Stealing Sheep and Laura J Martin than it does with northern
quarter toilet venues, and the overall feel of the album is pastoral rather
than urban. We are talking fields, sheep, howling wind and rain. Given that it
was recorded very much indoors, can this be read as a tribute to an inner
world? A universe is being created by this atmospheric soundscape of an album.
One that leaves you wanting more.
The album opens with ‘The Last Battle’, an eerie folk piece
with an ethereal otherness that, throughout the album, becomes something of a
trademark for Elizabeth. The vocals are clear, calm and commanding, holding the
song together.
Second song ‘Heart’ begins with a delicate piano tinkling
that suggests Florence + the Machine initially. It’s a pastoral piece, impressionist
and complex. “For him, I remove, my very skin” it obliquely concludes. To add
to the painting analogy, ‘Indelible Day’, an atmospheric piano led piece with
almost fevered vocals is like a beautiful miniature portrait.
The electro distortion of ‘Mexico’ blends with a shimmering
piano folk dance as mournful vocals move in and out of the distortion. Despite
its discordant tone, this is oddly beautiful, very shamanic and soundtracky. It’s
electro folk, but not as you would think of it, more as an experiment in sound.
Standout track and single ‘Simon Says Dance’ has
a breathy, yearning quality to it. It is accomplished, taut piece, fully
realised in structure and theme charting as it does years of dancing across the
years of a relationship. There is a maturity here and it has the mark of a
classic.
The simple piano of ‘Death in a sunny room’ is effective and
wistful, whereas the strummed guitar of ‘Debt’ adds depth and menace to what
feels like a particularly urgent song. I am reminded of Miranda Sex Garden (and
it’s not often I can say that) possibly crossbred with Glasser. The result
transcends folk and indeed genre; the way the piano dances hypnotically amongst
the guitar and the burgeoning drums is particularly effective.
The aptly named ‘Shimmering Song’ features eerie vocals and
electronic rhythms that drive the layers of sound and melody. If Glasser
collaborated with Laura J Martin, it might sound like this.
The pure electro of ‘All Mouth’ appears to owe more to
Laurie Anderson than to Laura J Martin, though the ghosts of the Radiophonic
Workshop are also present for added weirdness. The overall result is like a
warped lullaby for androids who dream of electric sheep.
The skittery rhythms of ‘Raven City’ evoke a bird it flight
at times as the initial piano subtleties give way to a more dramatic run on the
keys and pathos and poignancy, whereas ‘Desire’ begins with layered harmonies. A
poignant, stripped down piece with a sorrowful piano, it is intimate and
beautiful in its simplicity. The mediaeval maiden is alone in a bower but she
has discovered Laura Nyro’s New York Tendaberry and all is well.
This established, it’s fitting to end with ‘Early Sleep’, a murmured
stream of consciousness bubbling under metallic sounding samples. The randomness
of drowsy dreams seems to be being invoked.
Sleep tight, Nancy Elizabeth.
