The Quieter Ones is the second EP from singer-songwriter Alice Foulds, following on from her 2018 debut Oxygen.
This time around she has partnered with Emily Riordan who produced it as well as providing piano and backing vocals, while Noah Goddard is on guitars and bass. Recorded during lockdown, this is a great introduction to another really wonderful singer. For the most part this is acoustic, with the vocals always front and centre. Five songs in sixteen minutes, opener Teardrops In A Teacup, is the most powerful as it is an incredibly atmospheric track. Alice’s vocals are breathy and emotional, with more than a hint of Americana, really inviting the listener in. It is an incredibly layered song, with some delicate electric guitar in the background, as well as poignant bass, and some simple effects. The contrast between that and the introduction to Without You is remarkable as here her voice is bright and clear, and while there are the same layered effects and multi-tracks, this feels more fragile and personal, heartfelt.
The songs were written during the lockdown of April-May 2020, and there is a real feeling of passion throughout, with Too Long and its strident electric guitar being incredibly powerful. This is far more in your face than the others, and one gets the impression this could become quite the belter in a live setting. In My Skin takes us back to the second song in terms of style, and is my least favourite on the EP, as there are a few note choices which seem a little strange to me, but given they are repeated they are exactly what Alice intended. The Child ends the set, and contains a special naivety, a powerful hook in the chorus and some wonderful harmony vocals.
Overall, this is a really nice EP indeed and I look forward to catching up with Alice in a live setting sometime in the future. We have some really good releases from female singers at present, and Alice Foulds can definitely be added to that list.
About the author Kev Rowland
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From 1990 – 2006 I ran Feedback fanzine in the UK, writing about bands that were rarely covered in the mainstream press, many of whom were in the underground scene. I built close ties with many British Progressive groups in particular, including writing the newsletter for Freewill, getting gigs for Credo and writing the introduction to Galahad’s OCMDII compilation. I reviewed literally thousands of cassettes and then CDs from bands from throughout the world, and was lucky enough to interview many of them. During this period I also contributed to the French progzine Acid Dragon, wrote for the music newspaper Rock ‘n’ Reel and was also involved with the Ghostland website. In 2006 I moved to NZ, and stopped running Feedback (which was then renamed Amplified after I left, at my request) having produced over 80 editions with more than 11,000 pages of print and heaven knows how many reviews
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