EP Review: Let Go

Let Go is the debut release from Liv Beckett, who is a writer and performer with considerable experience across a fairly wide musical spectrum, currently based in Tāmaki Makaurau. Beckett has made songwriting a focus as a consequence of addressing work-life balance – as the saying goes – and Let Go is a collection of seven songs categorised here as an EP but probably a bit closer to an album-length statement in terms of the music content.

Opening track Playa clearly outlines the palette. It’s a soulful exploration of neo soul/ R’n’B/ Jazz styles. It works in the zone of mid-tempo sophistication, with an emphasis on groove and subtlety rather than overt use of dramatic dynamic changes. The blend of human, sequence and sonics is cleverly handled to hit an effective balance. This makes for music that feels organic, contemporary and danceable.

Through this collection Beckett reveals herself to be a very accomplished vocalist. Not only in terms of technique -which is essential for this music, and might be considered a given – but also in having the confidence and musicality to not feel the need for overly dramatic dynamic shifts or overstated vocal histrionics. The music wouldn’t suit that in any case, but listen to the melody work in the second half of Waiting for a real masterclass in vocal delivery, by a singer who not only understands what to do, but how and when to do it.

Given the amount of experience Liv Beckett has had working in the world of choral singing, an extra element of interest is her use of voice purely as an instrument, in addition to outlining purely melodic and lyrical ideas. There are vocal harmonies aplenty, but it’s the way it’s done that rewards some attention. There are plenty of examples, but maybe the best is Lovesick, where multiple melodies fit together in an almost – almost! – polyphonic Baroque style. It’s very impressive work.

A word about producer/writer Baz Suamili as well. The production, arrangements and compositional elements excel, and are clearly the work of an experienced and sensitive musician. Throughout, the music never fails to effectively frame the vocals in terms of the arrangements, the sounds and the groove. At the risk of harping on about the ‘G’ word, listen closely to the bass line in Wake Up, it is played ‘just so’ and is a cornerstone to the whole song. The relationship of the bass to the drum parts gives the whole song a dance imperative – (and one suspects, Dance Stamina too). Other examples abound – consider the precision in the arrangement of Figure It Out – even in the mid-tempo zone, this insists that the listener move.

Looking for highlights, then, perhaps Waiting is the vocal delivery of the whole collection. Its restrained, yet powerful and delivers a mature and thoughtful lyrical sensibility, again nicely framed with a sympathetic arrangement.

Just A Child is a song where the musical. lyrical and compositional elements combine to great effect. The secret sauce here is the chord pattern (fundamentally I-III-IV or Emaj – G#min- A major) which is the kind of ‘classic’ chord sequence that provides a harmonic springboard for really effective and mature melodic development. With a characteristically subtle arrangement-listen for those vocal layers again!-this has a slightly retrospective flavour and it would be a great set closer.

Let Go is refined, sophisticated and intelligently made music and rewards multiple listens. Fine work indeed.