“Channeling the past great women of rock, Kyla’s vocals evoke the ghostly, tormented lyricism and harmonics of a Stevie Nicks not yet bitter with the world”
The second and third albums are said to be the trickiest to deliver. Especially after a success that was perhaps never fully expected. That certainly has always been the case in the tospy-turvy, often fickle world of the music industry.
Although it may have undergone a series of radical changes within the last decade, the industry as a whole still proves to be a place where young artists are desperate to break into. Come hell or high water, there are legions of singers, songwriters, bands and soloists from all the different corners of social and economic backgrounds that wish to ply their trade and become the next global superstar.
As the circles of genres and subgenres tighten, the digital availability of music and instant, thro away culture has given birth to a new breed of artist aching to be discovered. The latest in a long line of these is one Kyla La Grange.
Her debut album, Ashes, offers a unique and well rounded approach to the single female vocalist who yearns to tell a story. Standing at eleven tracks long, the album marks another chapter in this young woman’s musical adventure and another piece of work ready to be thrown into the jaws of the baying, music buying public
But this is no glitzy pop number or electro infused dance track. Instead, La Grange reaches out to the more discerning musical tastes and brings a piece of work suited for those who enjoy lyricism, imagery and grand sound. Lead singles, “Been Better,” and “Heavy Stone” display a mature approach to a musical passion that can sometimes be overlooked and unfairly ignored in modern markets.
Channeling the past great women of rock, Kyla’s vocals evoke the ghostly, tormented lyricism and harmonics of a Stevie Nicks not yet bitter with the world. The tributes to previous trailblazers continue throughout the album.
“To Be Torn,” demonstrates Kyla’s enormous vocal range in a more than blatant tip to the ethereal qualities that made Kate Bush an international star. Where La Grange differs, however, is the distinctly 21st century styling and delivery. Oozing with glossy production that drips from every track of Ashes, this is music for the contemporary adult.
Bearing her teeth, quite literally at times, this album yields an edgier quality often amiss from artists of this persuasion. Tracks like “Vampire Smile,” the third single, combine the savage beauty and fragile, folkish charm that is set to propel La Grange into the mainstream in a flurry of accolades and praise.
All too often a softly spoken, eternally innocent yet well travelled female singer has come along and failed to live up to expectation. In the digital age of self-production, self promotion and sky high self assurance, the market place is clogged with those who emulate Diana Vickers and Pixie Lott. Indeed, the competition is now of such a high caliber that a revolving door policy seems to exist with even those who are sought to be established members of the industry.
Barring the monumental success of Adele, the female singer wearing her heart on her sleeve, soul bared for all to see, is at a premium in the 21st century. Not that it should be the case but it is with great surprise then that an album like Ashes offers what can only be described as a genuinely enjoyable, substantial and artistically credible piece of work.
Kyla La Grange is about to make a big splash in the music scene of 2012. Ashes is as strong a debut album as any that have been released this year and within recent memory. With the backing of her label, the ever impressive and imposing Sony, great things are expected from this young woman from Watford. Released on July 30th, the proof will, as ever be in the pudding when the general public get their hands on it.
Kyla’s official website has details of availability and tours.