Hey there, we've had some really good press and radio things happeing since the release of Elaine 'parmo' Palmer's album...
here;s a few bits n bobs for your reading pleasure (if this is your kinda thing !?)
The first reviews of Elaine Palmers 2nd Lp 'Waves' and cosmos recordings first release :
"With a beautifully conversational voice, an unerring sense of melody and a bittersweet and wistful repertoire, Elaine Palmer is undoubtedly a talent. 'Waves' engineered by Julie McLarnon, who can list Lampchop and Nine Black Alps on her CV, is always pleasant, if seldon truly memorable. A brace of songs - the delightful 'In My Dream' and 'Homefair Blues' - define Palmer's mildly melancholic muse, while the more direct 'In Your Company' has probably the best chance of national exposure. Elsewhere, the quietude of the half-heard vocals and the unpartiuclarised musical wash of polite classical guitar, harmonium, chimes. double bass and cello, soothe rather than inspire. But lovers of confessional, unadorned musis will rate this. DAVD BUCKLEY // MOJO **** // AUGUST 2006
The name might sound rather bland, but Palmer's actually a fine troubadour who, refreshingly, isn't chasing Dido or KT Tunstall's coat-tails. Beth Orton at her most ethereal is perhaps the closest comparison, but even then it's a hint rather than a stel. Written while living by the sea, the sky and the ocean loom large in the imagery of such unashamedly romantic songs as "Harbour of Refuge" and "Homefair Blues", while members of Lamb embelish Palmer's intricate quitar-picking with evocative washed of cello and double bass. NIGEL WILLIAMSON // UNCUT // JULY 2006 // 3/5 stars
More folk loveliness can be found on Waves the second album from Elaine Palmer whose wistful and emotional songs are the perfect vehicle for her rich voice which is captivating and clear throughout the album. Opening track Blue Sky sets the scene, the sad guitar melody beautifully accompanied by a doleful accordian and brushed percussion that gently move the song along to the rhythm of the voice. In fact, one of the joys of this album is the way an array of instruments is used to bring out the nuances of the words, every drop of emotion is discovered as the tune slowly unfolds before your ears. Its not all doom and gloom however, there is a vein of humour and optimism running through these honest observations, sorrows forgotten in the song of a bird or a sudden flash of sunlight on water, the idea that time will heal and all can be forgiven. It is the voice however, that draws me in, reminding me of Marissa Nadler in its delivery, full of passion and an honesty that is another reason that the album is so rewarding, meaning that the songs become old friends, familiar and welcome. All this becomes obvious in In My Dreams the piano and cello combining with the melody in a soft cloud of longing to create a wonderful piece of music that is matched in quality by the rest of the album. SIMON LEWIS // TERROSCOPE // JULY 2006
Discovered by Clint Boon of Inspiral Carpets who released her debut on his own label, the Yorkshire singer-songwriter is back with her sophomore release. It's a more wide ranging affair than Into The Spotlight, featuring members of Lamb on double bass, cello, drums and electric bass while Palmer takes on classical guitar, accordion, harmonium, chimes, and piano duties for a set of songs that run from the intimate In To You and Homefair Blues to the relatively more full-blooded arrangements of the shuffling Blue Sky and tinklingly countrified uptempo In Your Company. Her soothing, plaintive voice still evokes thoughts of Melanie and the folksily romantic songs remain rooted in exploring the ups and downs of relationships and self-confidence, their textures firmly influenced by the fact she wrote them in a reflective mood while living on the coast. Taking its cue from the title, the album has a gentle lapping quality, rippling, ebbing and flowing through sometimes uncertain emotions, searching for that sense of security, solace and belonging that informs Harbour of Refuge and the shimmeringly lovely closing track, Resting Ground.Ideally, the likes of Terease, Morning Love and the back porch strumming hymnal Some Deadly Sin should be listened to with a chilled white wine by your side as you sit outside in the early morning salty tanged air, letting the fresh breeze of dawn brush your hair and the smell of lilac curl into your senses, but what the hell, it still sounds great in the living room too. MIKE DAVIES // NETRHYTHMS.CO.UK // JULY 2006
The opening few bars of the first tune Blue Sky make it clear how Clint Boon of Inspiral Carpet (who put out Elaines previous album - the quietly but sincerely acclaimed debut album, Into The Spotlight - released on his label, Booney Tunes) could say: Elaine has this uncanny talent which Ive never experienced with any artist Ive ever met or worked with. Nothing more is required than what she delivers when you turn on the tape machine. True genius! This time Elaine has a rhythm section - understated throughout. On the opener Elaines lilting guitar floats over an inferred 12/8 groove - brushes and bass. Elaine has a beautiful voice, and great control - on this album she also plays guitar (classical, acoustic, and electric), accordian, harmonium, piano, percussion, chimes, piano strings(!), Fender Rhodes and, according to the sleeve, noises. Shes augmented by the consistently excellent John Thorne (Double Bass), Paul Blakesley (Electric Bass), Brian Edwards (Drums) and Frank Druitt (Cello). The album was recorded in Manchester and engineered by Julie McLarnon (Lambchop, Nine Black Alps). The featured musicians also work with Lamb.The songs were written while I was living by the sea at the Headland near Hartlepool. I did lots of walking and reflecting so a lot of the songs are influenced by the sea, ocean and harbours. I was a little lost and nostalgic when I write this record so the songs are very romantic and folky. Comparisons have been made with a young Melanie or a dark Michelle Shocked. Elaine has a style of her own and has succeeded in contributing a warmly intimitate, very relaxed and assuredly delivered album. Introspective and honest. CULTFOUND.ORG // JULY 2006
Coming from a North York Moors village, it is perhaps unsurprising that Elaine Palmers music is languid and wrapped in a relaxed intimacy. With a classical finger-picking guitar style, and backed by members of Lamb, this is hushed, a little nostalgic and despite the breeze retains the warmth of youthful innocence. Norah Jones, Eddi Reader and Katie Melua; Palmers sound is ready to rival their pop-folk success. SKIF // VANITY PROJECT FANZINE // JULY 2006
The name of this artist has been floating around me now for a few years before her second album reviewed here. Born in a village near Whitby and with years of musical evolution behind the music, this album sits on the cusp of folk and modern singer-songwriter. The songs are built on a core of acoustic picking with careful embellishments that enhance the songs without them becoming overly glossy. It is the voice and the melodies that are immediately striking though. Elaines voice has an intimacy that creates a feeling of being with her as we experience these songs. Although never sparse, the arrangements are kept simple and direct, leaving space for Elaines voice as the central focus. There is a variety to the music that is often lacking in similar artists. We go from the Bright St. John styled delicate touch of Terease to the chiming folk rock of In Your Company in just two songs.
There is pervading the album a wistful feeling, perhaps seeping in from Elaines lift at the time. The album was made near the sea at Hartlepool with Elaine walking the windswept coast ruminating on her life, loves and musical dreams. Elaine is an accomplished musician finding the ability to create natural but new melodies in her songs supported by sympathetic arrangements. In Harbour of Refuge for example, the soft folk is merged with a restrained chamber string arrangement that cant help but remind of Robert Kirbys work on Nick Drakes albums. In My Dreams is even more introverted, almost unbearably poignant reminding of Sandy Denny or Anne Briggs at their most personal. Each song confirms and builds upon the intimacy and cumulative beauty of the album. Subtle touches avoid blandness though, the 1970s electric piano of In To You or the shuffling skiffle of Homefair Blues.
Across the albums length, Elaines use of accordion, harmonium even plucked piano strings give her music a personal style that struggles for comparison. Perhaps only Charlotte Grieg captures the feeling of inhabiting her musical space for a while with an occasional touch of Rachel Unthanks traditional northern song coming through. It is difficult to express feelings of love using song in our modern, jaded age without the songs felling over sentimental and forced but Morning Love rises above such concerns easily. All the songs are strong but Some Deadly Sin is placed wonderfully after a run of softer ballads and so its strong rhythmic emphasis and sweeping arrangement perhaps evoke the wind, sea and shore of the albums recording location. As though such a demonstrative expression was too much, the following Rise is so restrained it almost hides in the shadows to be followed by our final song Resting Ground. Here the plucked string layers combine in a sublime way behind the vocals. The lyrics explore trying to find some place of rest, trying to find an emotional resolution from which to move forward.
With the songs ending we draw to a close this album that will be cherished by those who enjoy either folk or female singer songwriter. When people try to define what is or isnt folk music, Elaine sweeps away the need for such demarcations. What matters is the honesty and communication at the heart of the music, in this regard Elaine really is an artist to take to your heart. MARK COYLE // UNBROKEN CIRCLE