So many, many months ago, Independiente was fantastic enough to send me a full-length copy of Martina Topley Bird’s new album, “The Blue God”. Previously, I had done a review of her single Poison but now I’ve had the pleasure to review the whole album (many, many times!).
The one word that comes to mind when I listen to this album is “unimposing.” Like the Smashing Pumpkin’s “Ava Adore” or Tori Amos’ “From the Choirgirl Hotel,” I find “The Blue God” to have the signature of a mature songwriter. “Ava Adore” and “From the Choirgirl Hotel” accompanied me for many years during undergraduate, and where the official soundtracks of my English majoring days. They were unobtrusive, melodic, and undistracting, but remarkably strong and beautiful albums.
That’s where I would say the comparison of Bird’s album to the Pumpkin’s and Amos’ ends, though. Bird’s album is fresh with sounds from the 60s, with a voice that travels from bubble gum pop to rough and sexy within two songs. Staring with “Phoenix,” we have the voice of an ingenue, remarkably familiar though without an origin (though if you can figure it out, please let me know!). Similary, “Carnies” has the youthful enthusiasm of a child at the carnival, yet has a mature nostalgia behind the vocals. “Baby Blue” is probably one of my favorite tracks on the album, evoking the Motown stylings of 1960s girl groups– soulful and sultry put together with playful and pin-up music. “Valentine” is reminiscent of 1960s school dances, with fluffy gowns and slow dances.
Overall, I couldn’t be more pleased with the introduction to Miss Bird. Her music is fresh and fun, an album I’m comfortable listening to anywhere.
Enjoy, sweets!
