Saskia – Are You Listening
Independent – 31 July 2020
Every now and then, it does your music listening brain good to have an audio de-clutter. Just open your ears to something pure and simple, bathe in a core element that is undeniable in its power and emotion. That’s where I found myself when listening to the opening, title track, of this new album. It was something along the lines of “wow, now that is a voice… I am going to keep listening to this”. Make no mistake, it’s not that the vocals are performing octave leaping gymnastics, trying to batter the listener into submission through sheer volume or indulging in any other type of warbly over-emoting; the kind that traps so many vocalists out to prove themselves. No, its simply that Saskia has a beautiful tone, a pure texture and sustain that sounds totally natural and in no way over-reaching. There is not a trace of strain, and essentially it was such a gorgeous lush sound, that it would have taken a catastrophic misstep to prevent me from staying for the remainder of the album. Here is a collection of, mostly self-penned, songs that are presented in a pleasing back-to-basics setting on which she is joined by a talented lineup of musicians: David Ian Roberts (guitar), Thomas Holder (double bass), Ali Petrie (piano) and Gabriella Swallow on cello. It’s a vocal lead album with acoustic guitar upfront and only the most tastefully delicate embellishments from piano, double bass and cello but all over, the ambience is warm and intimate. Above all, that voice holds you. What an instrument, there’s still no studio or production trickery that can create a sound like that (I mean have you actually heard what auto-tune sounds like? Horrible).
The song ‘Are You Listening’ itself is an apt calling card, an LP introduction that rightly instructs that if you want to get the most out of this, you really should make time for it and pay attention. Not that these easy-on-the-ear tunes couldn’t work as background music, but they’re well-crafted songs and reward some thought and concentration. The track may well actually be a piece about making choices but still, in the context of this record and this new artist, to listen and listen well is a perfectly valid request. In the cut and thrust of modern life, we do not always take the time to stop and experience properly, casting aside the numerous other distractions of modern life. But when I replayed this album while engaged with other tasks it sort of kept slowing me down, pulling my attention back to the music. My best listens were alone with the headphones, giving the tracks my all and allowing them to weave their way into my psyche.
Advance notices on this release, which Saskia had considered delaying due to the virus-induced cancelling of her summer tour plans, are calling it a “completely old school acoustic album”. Well, that is a fair comment in as much as the analogue feel to the production harks back to the early seventies, a golden age of the singer-songwriter when female artists like Joni Mitchell, Carly Simon and Janis Ian were putting out some of their most enduring works. It is also hard not to recall the sound of Sandy Denny singing Fotheringay. But I wouldn’t say that makes this an old-fashioned album in any way whatsoever. I believe the art of great song writing is a rather timeless seed, especially when decorated by nothing more than the most basic elements, leaving enough air and space in the sound to allow the heart and soul of the pieces stand out. In fact, if you want an example of how some dubious production choices can delay a great songs mass appreciation just look at Leonard Cohen’s original version of ‘Hallelujah’ from 1984, then recall how the song really only came into full bloom after other artists stripped the song back to its basic form. Saskia does the same to it here, in closing the album with her only cover version selection. It’s a testament to both her talent and the quality of her own composing that not only does she sing a thoroughly satisfying rendition, but also this masterpiece does not outshine her own songs that preceded it.
Saskia Griffiths-Moore released her debut album in 2019; entitled ‘Baez Dylan and Me’ (reviewed here) it showcased her assured vocals and mature ear for a great song (it leaned heavily towards Bob but did feature one of the loveliest versions of Phil Ochs ‘There But For Fortune’ I’ve heard). However, it arguably sold her own abilities as a creative, original writer short. That is where ‘Are You Listening’ comes in because this really is a serious announcement of a credible new arrival. The songs recorded here are mainly gathered from the past five-year period in which Saskia has travelled the live folk scene far and wide, refining and learning her craft. And if proof were needed that this is anything other than a true calling for her, then consider this, she sacrificed a career as a Harley Street therapist in order to follow her musical instincts. She threw herself in at the deep end too, moving from London to the West Country in a camper van and starting out as a busker.
As a whole, the album does dip into genres such as Americana, blues and pop but in the main, the style is fairly consistent throughout. There is certainly plenty of variety between the tracks, but that is more down to the free-flowing feel and natural shifts of the songs rather than dramatic variations of mode. Ironically, the song with the most immediate pop style refrain is ‘Bring It Down’, the irony is in the detail that this is also, at over six minutes, the longest song on the set. I kind of like that though, the respect she is paying to her craft in not altering the songs natural state. A more calculating artist would try and repeat more of the sing-along worthy chorus, but instead, Saskia gives centre stage to her wordy, freewheeling verses that pour out as if written on a Kerouac style endless ream of paper.
The lyric writing has its own voice all the way, searching for sources of hope amid pictures of everyday realism and a little balm for life’s body blows. ‘Come Comfort Me’ is directly asking for support during the dark time. ‘The Presence’ and ‘In Time’ both ponder the future from slightly different angles, the former with its ‘live for today’ message where the latter looks forward as it cuts ties to the past. ‘These Hours’ celebrates long-lasting friendship and ‘Best Of You’ wants us all to be the best that we can be. Without exception, these songs deserve to come out of the long grass and into the main arena. They have a chance, this launching off point Saskia finds herself at today is part of a two-album deal signed with America’s Susanne Marcus Collins Foundation. As much as it must be immensely frustrating to be currently denied the opportunity to play live, I fully support the thinking in continuing to release this album as planned regardless. Let’s get this music out there right away, in times like we are going through in 2020 there are bound to be many people who would welcome some sublime, reflective singer-songwriter music into their life. ‘Are You Listening’ is an album that will mesmerize the listener, and is always underpinned with optimism and hope for the future.
“Are You Listening” will be available on July 31st, on CD, vinyl, and all streaming services.
Photo Credit: Aga Tomaszek