I suspect that the name Sasha Siem will be widely known soon – talent of this magnitude won’t have it any other way. With her debut album Most Of The Boys, we are witness to a whole new level of complexity and sophistication not normally found in the world of popular music. Prior to recording this album, Siem had gained much praise for her work in the field of classical composition. She won several prestigious awards for her work, including the British Composer Award, the Arthur Bliss Prize, and the Royal Philharmonic Composition Prize. Her background in classical composition is on display here and wielded deftly to create a sound that is very difficult to compare with much else. She can be best compared to Feist, with occasional touches of Bjork.
Overall, the album is very dynamic, with lots of different arrangements and things to keep it interesting and engaging. Siem manages to do this almost entirely with classical instruments, not leaning on synthesizers, sound effects, or other studio “tricks” to accomplish this unique and complex sound. This arrangement style does not settle into simple chord progressions; instead, through the use of cross-section voicings and countermelody, she artfully creates an uncommon yet compelling sound.
Her sung/spoken vocal style is reminiscent at times of a cabaret chanteuse (“Tug Of War,” “So Polite”), but again, this is where her style cleaves closely to Feist. The lyrics are also clever, often engaging in tongue-twisting wordplay (see titles like “Knots And Do-Nots” and lines like “I’m sore with the stitch, the itch, the etched inch of you” on “Proof”). This clever and playful approach to the material gives it that personalized flair that makes the disc such a potent and creative statement.
Most of this release has a pensive and melancholic yet beautiful atmosphere. At the same time, Siem uses the complex interplay between the vocals and the arrangement to great effect. This can be heard in the moan of the violin behind the vocals in “Knots And Do-Nots” or the vocals on “Kind Man’s Kiss” that skip along to the pizzicato of the strings. The stop-start dynamics on “So Polite” complement the rubato delivery of the vocals. But make no mistake; it is the composition and arrangement that are the stars on this album.
While this is an ambitious album, the formidable talents that Sasha Siem displays here demonstrate that she is clearly up to the challenge. This might not have very broad appeal, but it is a rewarding listen that reveals more and more with repeated listens.
