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VIRTUE ( BONUS EDITION) CD

4.7 out of 5 stars 12 customer reviews

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£12.45 & FREE Delivery in the UK on orders over £20. Details Only 2 left in stock (more on the way). Dispatched from and sold by Amazon. Gift-wrap available.

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  • VIRTUE ( BONUS EDITION)
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  • First Love
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Total price: £41.95
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Product details

  • Audio CD (14 May 2012)
  • Number of Discs: 1
  • Format: CD
  • Label: Absolute Marketing
  • ASIN: B007VOJP5Y
  • Other Editions: Audio CD  |  MP3 Download
  • Average Customer Review: 4.7 out of 5 stars  See all reviews (12 customer reviews)
  • Amazon Bestsellers Rank: 84,837 in Music (See Top 100 in Music)

Track Listings

Disc: 1

  1. Dinosaur Sex
  2. A Woman, a Woman, a Century of Sleep
  3. Iris
  4. Paper Forest (In the Afterglow of Rapture)
  5. Cassandra
  6. Creation
  7. Sylvia
  8. Exit Night/Juliet's Theme
  9. North
  10. Trellick Tower
  11. God of Loneliness
  12. Fade Into You
  13. Paper Forest (Bird)
  14. Emily

Customer Reviews

4.7 out of 5 stars
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Top Customer Reviews

By Peter TOP 500 REVIEWERVINE VOICE on 15 May 2012
Format: Audio CD
Virtue is Emmy the Great's second album. Unlike the first album, which has great songs but an unsatisfying whole, Virtue is nearly perfect. There's a unity of theme and style, and the producer, Gareth Jones, has helped to create a consistent sound for the album, resulting in something greater than the sum of its parts. Emmy-Lee Moss's songs are mainly about words and about story, and employ lovely extended metaphors. There's a refreshing originality of vision, and while the songs are about Emma's personal experiences - sometimes related with excruciating honesty - the subject matter is something that most of us can relate to.

In the original release there are ten tracks, making a sensible 45 minutes of music. The swoopy pitch changes of the opening track, Dinosaur Sex, accompanies a simile about cranes that look like dinosaurs, and about the fate of the dinosaurs (and perhaps about our fate too). A Woman, A Woman, a Century of Sleep is a catchy singalong about the prospect of becoming a housewife. Paper Forest is about the written remnants of the relationship - and who is there without an uncomfortable stack of letters or diary entries somewhere in the house? As the album progresses, the songs change to a nostalgia for that other land that is the past, for what might have been.

The final song of the original release, Trellick Tower, is a study in dignified acceptance of the way her fiancé abandoned her that will resonate with all of us that have suffered an inexplicable loss. Trellick Tower, incidentally, is a rebarbative West London tower block in the brutalist style of the 1960s, not a Cornish beauty spot as I first imagined.
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By Peter TOP 500 REVIEWERVINE VOICE on 13 Jun. 2011
Format: Audio CD
There's a set of themes running through Virtue that link the songs together to make something more than the sum of the parts. The album is largely about weddings and the religious and cultural baggage that attends them. Writer and singer Emma-Lee Moss was engaged to be married in summer 2010. However, her fiancé suddenly broke off the engagement when he decided to become a religious missionary: this album has consequently become a means of exorcising the awfulness of that event, and in the process it is one of the most personal, cogent and thrilling albums I've listened to in a long time.

The component pieces come from cultural history, and from Moss's own perceptive insight both into the physical world, such as shipping container cranes like dinosaurs that fornicate in a futile effort to avoid extinction, and the stark 1960's brutalism of West London's Trellick Tower, which is a metaphor for Moss's vanished relationship. There are fragments of fairytales (and what are fairytales other than stylised ordeals - princesses that sleep for a hundred years, the path through the dark forest) and lots of religious metaphors: North is about the selfish exclusivity of the paradises that some religious people want to inhabit; Trellick Tower uses religious relics as a metaphor for Moss's abandoned state - the relics "ache for when the saint had breath". There are even some secondary sources - there's a quote from Patti Smith's Dancing Barefoot, which is itself a quote from the Gospel according to Luke.
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Format: Audio CD
Loved this album. As with First Love, however, it took some time to appreciate. Give it time to grow on you. As with many albums from long ago it rewards listening. I can't give it the full five stars because I'm still miffed at not getting the extra songs of the bonus edition. As with many other things these days it seems that loyalty is penalised.
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Format: Audio CD
This album is an impressive return from the already impressive First Love - Bonus Edition. Emmy has a wonderful singing voice, clear and melodic, punchy and almost staccato but ultimately incredibly versatile, imbuing her lyrics with the frankness and openness in which I believe her songs are intended. The music is enticing to the ear and accompanies her lyrics perfectly, each song evoking a world of it's own with vibrant and interesting but unobtrusive instrumentation and choral arrangements as the words and music play off each other in turn, joining harmoniously throughout in a more stylistically coherent structure than her debut.

Like many great artists, Emmy is not one to shy away from the tragedies, experiences and nuances of life, instead utilising them to great effect, making her music incredibly mature and poignant rather than deliberately nonsensical and commercially nondescript. Thus, we are welcomed refreshingly and offered a delightful insight into Emmy and her many influences and experiences in an intimate and inviting manner befitting a friend rather than a fan.

The album itself is seemingly wrought with the dichotomy of life, the contradictions in our nature and experience that often make our lives what they are. The apparent futility of life itself when confronted with individual action against the collective of humanity, the pain of loss and its necessity in appreciating joy. This is often conveyed via detachment through fairytale and religious imagery, in a way that both evokes a collective nostalgia of childhood and home but also shows how we can all find it easier to express ourselves, sometimes unintentionally, through indirect rather than direct means.
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