I loved her first album, and wasn't sure on my first listening of 'The Blue God', but I have to say after a week of what seems like listening to nothing else, I have to say that this is just beautiful, amazing stuff. It's eerie, sensual, haunting, sexy, weird...Just brilliant really. It's different in style and tone from the first, but all the more powerful for it. DangerMouse's production just compliments and presents Martina's sultry, delicate voice with incredible sensitivity and effortless style. I love this album, Martina Topley Bird is a fantastically talented artist.
Martina Topley Bird does not fit into one category of music. Broadly speaking she is "Eclectic Electronica", but fans of Jazz, Soul, Alternative and Hip Hop would all be advised to check this very strong album, and her first "Quixotic" too. She has a clear yet soulful subtle voice, with good phrasing and a dreamy tinge to it. The beats are catchy, varied and original. I heavily recommend that, if you are at all interested in top class and vibrant music, you buy this album.
I saw Martina Topley-Bird supporting Massive Attack, and she is the voice of many of the tracks on their latest album, Heligoland. This spurred me to buy her album.
I agree that she is an astonishing talent, and has that husky-voiced quality that is common to many Massive Attack collaborators. The difference with her is that she is a genuine song writing talent in her own right.
This misses out on five stars, though, because I felt the sound quality left something to be desired. This, along with the unfinished feel to Da Da Da Da - which seems to finish in the middle of a beat - lets down what should be an outstanding album.
This sophomore album from Topley-Bird a full five years after her solo debut with the intermittently excellent 'Quixotic' is simply superb and a great deal of the reason for this is the choice of producer, Dangermouse, who really has been on a roll recently. The songwriting is mostly very solid but is greatly enhanced by the magnificent production which in the main sounds like a more spare "Gnarls Barkley" with the exception of the last track, 'Yesterday' where DM really digs deep into his bags of tricks for an OTT finale (with an absolute killer bassline by the way). Topley-Bird's singing is predictably excellent with that seductive low-key, woozy, slurry, narcotic feel that is all her own and refreshingly different to that despressing litany of bombastic Amy Whitehouse wannabees that are cluttering up the airwaves at the moment. This album has mystifyingly accrued some flak from critics for being too "pop" but in my opinion that is just critical snobbery, this album has a consistency of tone missing from Topley-Bird's debut, her singing is great, the production is stellar and the songs are mostly strong, what more do they want? So the music has a lighter tone than her debut; I for one like that aspect since I'm getting sick of the angsty self-absorbed music that's doing the rounds at the moment since that way lies the abomination of Amy Whitehouse's appalling "Rehab" (and its ilk), probably the most wretchedly self-mythologising, self-indulgent song of all time (which remember the critics loved by the way!).