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|1. Sun Goes Down - Devlin, Katy B|
|2. Really Cold - Devlin|
|3. (All Along The) Watchtower - Devlin, Ed Sheeran|
|4. Off With Their Heads - Devlin, Wretch 32|
|5. Ghost Ship - Devlin|
|6. Letter To My Boys - Devlin|
|7. Mother's Son - Devlin|
|8. Rewind - Devlin, Diane Birch|
|9. Love Cards - Devlin, Etta Bond|
|10. A Gift & A Curse - Devlin, Chasing Grace|
|11. The Cast - Devlin|
Back in 2009, Dizzee Rascal and Tinchy Stryder sparked an industry goldrush when they discovered that sledgehammer-subtle electro house and big RnB vocals was the way to make a fast buck. The likes of Chipmunk and Professor Green soon followed suit.
Dagenham boy James Devlin signed with Island as part of this wave of would-be crossover acts, having cut his teeth on the underground with the OT and Movement crews.
His label debut, Bud, Sweat & Beers, was more interesting than most, showcasing an angst-ridden talent whose eclectic style had more in common with The Streets (another urban-suburbanite), and whose socially conscious flows put him on the same page as Plan B.
If the record lacked a compelling enough vision to make it a classic, then it was certainly a promising start. Alas, A Moving Picture proves a more nakedly ambitious – in the humdrum sense of the word – follow-up, which struggles to strike the right balance between street cred and pop appeal.
Sun Goes Down sets the tone from the off; the buzzing rock guitars, will-to-overcome lyrics and ‘emotional’ chorus refrain recalling Tinchy and Pixie Lott’s Bright Lights. Katy B lends the endeavour some of her trademark class, but it’s a box-ticker at best.
Ed Sheeran collaboration (All Along the) Watchtower is pretty dreadful; a flimsy cross-branding exercise based on the Bob Dylan song of the same name, as covered by Jimi Hendrix. And single Rewind, with a chorus from Diane Birch, sounds like Eminem’s sappier material. It’ll probably be massive.
Devlin sparks on darker material like the So Solid-ish Really Cold and Off With Their Heads, a Wretch 32 collaboration that sounds like a string-laden Ni**as In Paris and makes for a thrillingly tense four minutes. Ghost Ship is excellent, too.
Elsewhere, though, introspection grates, and occasional detours into sentimentality don’t help – Mother’s Son sounds like Tupac at his mawkish worst. A Moving Picture might well make a star of Devlin, but it doesn’t always best serve his talents.
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