Singing to Ghosts

UK singer-songwriter Denai Moore’s debut full-length Elsewhere opens with the profoundly mournful funeral march of “Piano Song.” “Everything you love kills you,” Moore murmurs, as if speaking to ghosts, either literal or imagined. In addition to being a phenomenal opener, the song acts as a synopsis of Elsewhere‘s most compelling material, and while the record doesn’t always meet this initial high-point, there is enough craft, nuance and heart-felt emotion to keep the listener engaged throughout.

Carrying on the tradition of artists such as Beth Orton, Moore—along with collaborator Rodaidh McDonald, best known for his work with The xx and Adele—blends traditional acoustic instruments with spacious, multi-dimensional production that calls to mind Lorde, and sometimes even the Brainfeeder crowd. On the title track, warping pianos, manipulated voices and sensual pulse nestle in right alongside jazzy live bass, while “Feeling” features American-Gothic balladry mixed with grey-drenched production.

Occasionally, the instrumentation becomes stripped down to just Moore on her piano and/or guitar with some minimal accompaniment. Still, Elsewhere is best when it finds her experimenting with textures and using her songs to explore more unearthly soundscapes. However, this isn’t to say her more straightforward songs—such as “Flaws,” or the harrowing “No Light”—aren’t without merit, featuring soaring vocal harmonies and ambient nuances. (The gorgeous, mutant-gospel swell at the 1:55 mark on “I Swore” is more than worth the price of admission).

Ultimately, Elsewhere showcases a young artist still finding her voice—at times literally, as some moments demonstrate Moore reaching outside her vocal range and coming off somewhat flat. Still, she hits more than she misses, and if this record is any indication, Moore has a long, well-earned career ahead of her. Despite its minor flaws, Elsewhere‘s best songs will undoubtedly haunt many listeners, like the last words of loved-ones echoing out from the darkness.