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It's impossible not to trigger memories of witnessing Niblett's frightening live performance, and concluding that's it's a tough task to harness that intense quality on a recording. Nevertheless, the opening Just Do It! rears up with an overloaded, blooded guitar rush, then unsurprisingly quiets down for some understated strumming, as Niblett makes her inward voicings. It's particularly chilling, setting the mood for the entire album's run. She's a slowly pacing panther, seeking the next opportunity to swoop up her guitar into a menacing crunch-of-release, always searching for the best heightened doom-chord.
Niblett makes sparing use of primitivist drum eruptions, battering home the down-stroke of each riff, as she makes her dissatisfied moans. The old dynamism techniques never fail. There's another hellish guitar opening to Cherry Cheek Bomb, followed by a brooding sensitivity that eventually explodes into her hardest, heaviest drum-guitar bombast. Even though this technique eventually becomes repetitive and inevitable, it still succeeds every time. Despite a retro-1990s aspect, nothing prevents the songs from crackling with over-spilling energy.
Perhaps Lucy Lucifer heads too far towards a nursery rhyme cadence, but it's redeemed soon afterwards by the almost-flamenco introduction to Meet and Greet, a gathering storm that turns into a lumbering prog pustulation over the course of its epic nine minutes. --Martin Longley
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Customer Reviews
If you're a scout fan of old, you'll be familiar, however if you've come in off the back of This Fool Can Die Now, then you may be a little surprised, but you'll be warming to it.
For most, the experiment with sparsity and offbeat material is something tried in between convention. However, for Scout TFCDN seemed to be the dalliance with convention.
The album itself didn't remain in convention throughout, but even her loud/quiet pieces leaned towards a typical rock dynamic.
On Calcination, she seems to revert to her original state but refined and replete with off-kilter loud guitar parts that don't seem to fit with her song structure. Where before she saw song structure and expanded it beyond most people's ideas of Niblett, here she throws them away so much that we end up somewhere new.
If you came to this album without prior Niblett experience, you'd think her an amateur, in the way that looking at naive artwork would make you think the artist unable to paint.
Invest in Emma and you'll be hooked.
For fans, there's the expansion of Emma without the expansion of convention.
emotive female vocals over dramatically brooding, minimalist & raw songs that alternate between
softly strange and raw, vicious--but controlled--guitar rips. Reminds me of P.J. Harvey, Cat
Power & occasionally Joanna Newsome. A surprisingly bizarre, beautiful, creepy & potent album.
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