Album review by James M
Pop - a word that once
described accessible music, yet these days is frequented by those
wishing to make a dig at an artist. You can’t really blame them.
The UK Top 40 is full of horrible, manufactured 'pop' artists
these days and so people rightly have a point at times. However once
every few years an artist comes along that generally pleases the indie snobs and Radio 1 listeners alike. Back in 2010 I had a little
bet that the next big thing would be Alex Winston. Immediate enough
to please passers by but with enough depth for those wishing to
pursue their interests further, her early work seemed like the
perfect package. Sure enough, 2011 came by and ‘Choice Notes’ was
on no less than 3 major TV commercials. “That’s it” I thought.
“She’s made the big time”. Yet humming the chorus aside, 2012
has arrived and she’s still very much an underground name. Upon
seeing the track listing for debut album ‘King Con’ I had mixed
emotions. At least five of the tracks on here are repackaged versions of
former singles, EP tracks and their B-sides. I was hoping for a fresh
new start but given the quality of her early work, I also felt it
might be third time lucky and that people may finally be won over by
some of the finest pop songs I’d heard in the previous two years.
With so many singles
and EPs already under her belt before the album was even recorded, three of the opening four tracks on ‘King Con’ will be vaguely familiar
to some of you. “That’s a vague statement in itself”, I hear
you say. The reason for this is due to the production on not just
these but the album overall. It shows Winston’s productivity, when
instead of throwing together bits and bobs, she seems to have
rerecorded tracks that once had a raw feel to them and turned them
into the majestic pieces of music they deserved to be. ‘Fire Ant’
comes in at 100mph and is the sound of a woman scorned. Somewhat
ironically she yells “God damn you’re back again, trying to get
under my skin”. Perhaps flailing relationships have more in common
with the record industry than people give them credit for. Though
it’s open to interpretation of course, ‘Velvet Elvis’ is
possibly Winston’s filthiest moment with a lyrical content to shock
the mothers out there. After sticking a 'Parental Advisory' sticker on
the case, what follows is one of those moments that can make you
become a snob. Winston’s innocent voice paves way for one of the
biggest choruses I’ve heard for a long time and this has the making
of a chart hit all over it. Anybody in need on an antidote for the
filth that has preceded it needn’t look any further than
‘Medicine’. Yet another flawless moment in which she sounds once
more like a woman on a mission, “don’t settle for less” being
the strong message here.
It’s testament to
both the quality of the musicianship on this record and the songwriting ability, in that never once do you really feel like you’re
settling for second best anyway. The album's stand out track
‘Locomotive’ comes in and as the name suggests, it hits you like
a freight train. Every individual aspect from the harmonies, right
through to the changes in sound levels feel like they’ve been given
the 100% attention that, in fairness, every record deserves but sadly
some don’t get. It’s because of this that little moments stand out.
Sure, with lyrics like “I wish I cared about the things you care
about but I don’t”, on paper this could be any female solo artist
in her mid 20’s telling tales of heartbreak, singing lyrics given
to her by an A & R man. But on listening you get a real feel of
sincerity and emotion that you don’t get on so many other pop
singles. ‘Sister Wife’ and ‘Choice Notes’ enter half way in
the album and are the last of the previously heard material. It’s
hard not repeating myself and not wanting to use a Thesaurus every five seconds to come up with new words, but both really do have the sound
to tear down stadium speakers. Winston has a rather unusual vocal
style and it’s heard best in ‘Sister Wife’. A classically
trained Opera singer to begin with, she has encompassed so many
styles with such ease. Falsetto like one second, brash the next,
before ending up angelic once more, there’s definitely no need for
computers to enhance the pitch here in what is a beautiful and very
individual concoction.
The wilderness is
opened up as we get towards the end and there’s not a former single
in sight. For me this was always going to be the real test and to see
if ‘King Con’ was more than just another average album from a
once promising female solo artist. There is of course nothing to
worry about as there’s no filler on here. Sure, if there’s any
criticism to be found then it’s that the likes of ‘Shock Me’
and ‘Benny’ slow down the fun a little. This proves that there’s
nothing throwaway though and that there’s a soul to the album. And
that’s the key word really here: 'soul'. This feels like a
collective effort, one that has been produced and tweaked in every
little area that needed it. I’ve never read any interviews but I
get the feeling that Alex had a say in everything that went on here,
unlike some of her counterparts. As she readies her exit we’re left
with ‘The Fold’, a loud climax in which like the singles and EPs
before it, leaves us waiting for more. It’s a cruel music world and
9 times out of 10 the best are left kept as a secret to those who
want to cherish and keep them to themselves. This is an album that
deserves all the recognition it can get, a wonderful, well put
together pop gem. If it so happens that in another two years you
whisper the name Alex Winston and nobody recognises it, thank
yourself you've got King Con for your own pleasure.
Alex Winston's website
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