Lost Where I Belong

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Album Information

Total Tracks: 9   Total Length: 37:20

eMusic Review 0

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Andrew Harrison

eMusic Contributor

12.14.10
A journey of the soul's outer limits
2010 | Label: Ninja Tune

The opening track of Andreya Triana's first album should intrigue anyone who's burnt out on mannered, fifth-generation soul impersonators. "Draw The Stars" is a beautiful, swirling, Marimba-driven thing that owes more to Minnie Riperton, Martina Topley-Bird or even the sensual techno of Plaid and Boards Of Canada than it does to the narrow canon that begins with Aretha but ends up with Mariah. If the rest of the album doesn't fly quite so far from the source, it's still an impressive debut, placing Triana's gentle, insinuating voice in a twilight world where you're as likely to run into a picked acoustic guitar or a solo violin as you are a subtle bassline or a dismantled breakbeat.

Triana was born in South East London, educated in Leeds and now lives in Brighton, so she's already covered several points of the English musical compass — the soul and nu funk of the Capital (she's performed in her own soul-jazz band and with the Quantic Soul Orchestra), plus the Yorkshire city's mix of black pop and DIY indie, and now the anything-goes avant-garde leanings of London-by-the-Sea. Produced by jazz-breaks artist Bonobo — on whose album Black Sandsread more »

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They Say All Music Guide

Andreya Triana owes the existence of this album to a chance meeting with Simon Green, aka Bonobo, who featured her on his Black Sands album and then offered to produce her first full-length effort. The result is a debut album of impressive beauty and maturity, one that documents a long musical and personal voyage fraught with heartbreak, but never succumbs to self-indulgent sentiment or confessional mawkishness. Part of what keeps things tight is Green’s production style. The setting he creates for “Draw the Stars” is both completely unique (marimbas, strings, unidentifiable percussion) and straightforwardly beautiful, hinting at funkiness without stating it explicitly. He gets much more outspokenly funky on the horn-driven “Up in Fire,” and torchy on “Daydreamers,” and jazzy on “Far Closer,” and his arrangements are almost invariably brilliant. But it’s Triana’s voice that moves these songs from the realm of the pleasantly unusual to the borderline transcendent. Its smoky tone colors every track and her effortless phrasing weaves through the instrumental parts like a supple, muscular snake. She responds to the simmering rhythm of “Darker Than Blue” with a perfect sultriness, and to the quiet torch song mood of “Daydreamers” with dignified regret. On “Something in the Silence” she sounds a bit off-balance, and never seems to feel quite at home with the Brazilian tug of the rhythm. But everywhere else her mastery of the material and of her own musical vision is complete, and the result is a thrill to hear. – Rick Anderson

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