Shape-shifting debut from Andrea Levesque.
Do you ever have this experience: you come across a record with such a killer opening track that you press repeat and struggle to get past it?
See the Hue gifts the world such a song in the softly spoken crystalline juggernaut that is it’s title track. First luxuriate in that Cocteaus echoing riff (circa maybe Tiny Dynamine) held aloft on air cushioned bass (synth?) before we have lift off with actual bass snaking between aquatic synths before the genius touch of a carefully deployed violin takes you to your sweet spot.
Highly addictive, but once you move the laser past See the Hue and give some time and love to the remaining contents you’ll find that New Hampshire native Andrea Levesque has given us a shape-shifting record that is described as an ‘e.p.’ but is in fact what they used to call a ‘mini album’.
If See the Hue has a weakness it could be the desire to cover too much ground: I’m still in two minds on the jazzy trip-hop, complete with Portishead style scratching and samples, of Life at the Top. I may warm to it, only time will tell.
But then we have the totally convincing stately synth and string oceanic abandonment metaphor that is At Sea. Tribal drums move us into Disintegration era Cure territory, the lyric, ‘save myself, no one’s coming back for me’ pulls effectively on heartstrings but offers succour not surrender.
One listen to One More Minute may bring to mind Garbage (or Curve?) but actually I’d be a smart-arse and would raise you Tribe, almost forgotten Boston band whose 90s major label debut Abort dealt in similar elegant alt-rock at a time when the words ‘elegance’ and ‘alt-rock’ were rarely seen together in a sentence. Sadly for them undeserved obscurity beckoned, that should not be the fate of Atlantic Canyons.