Denai Moore ditches folk for entrancing, electronic soul

Having collaborated with the likes of MNEK and SBTRKT, the Jamaican born, East London singer-songwriter’s unique soulful vocals are in high demand already, and Elsewhere is a fine showcase of her startling voice. Since releasing the EP Flaws in 2012, which first brought me to discover Moore, she’s gone through a transition in her sound from folk towards a more soulful electronic vibe, resulting in this entrancing album.

From the onset of Elsewhere you can hear Moore’s influences bursting through with vocal similarities to Lauryn Hill and the electronic-folk style production of Bon Iver. This electronic feel is not surprising when you find out that the producer of this album, Rodaidh McDonald, has previously worked with The xx, King Krule and Sampha – you can sense elements of each artist coming through in the production. Moore’s writing style is unique and intelligent, and shines through across the album as something to be really admired.

Opening track “Piano Song” dives straight into the new sound Moore has made for herself. She achieves a sombre yet uplifting feel from the start here; her clear vocals shine through with the lyrics “everything you love kills you” combined with a slow tempo, yet subtle euphoric climax going on in the background. Next up is “Absent” with production which comparable to the sparseness of James Blake. “Detonate” is an exquisite example of a track that showcases Moore’s ability to create vocal-led music entwined with mesmerising harmonies. Meanwhile, the title track is a dissonant change, asserting Moore’s talent and the sense of individuality expressed with this debut.

“Flaws” brings back the folk feel that you might be more familiar with from earlier Moore. It’s slightly more produced than the initial version you may know from the 2012 EP, with an epic sounding chorus; for me it’s a personal favourite with eloquently curated, heartfelt lyrics (“I’ve got flaws just like you”).

Despite comparisons to other artists, there’s something about Moore’s song writing which makes this an extremely rare kind of album; it feels entirely honest, and for a debut this really is quite something. “I Swore” is without a doubt one of the most powerful and stand out tracks here. Released prior Elsewhere, it was the first hint we heard as to how the album would sound - simple and repetitive, but in a truly captivating way.

Listening to the album initially in one go, it can feel as though Elsewhere merges into one sound, but as you listen again, and again you notice the difference in character of every track. “Feeling” brings the layered vocal affect that this album will be surely commended for to the forefront; it’s a song purely about heartbreak, and you can really feel it, while both “Never Gone” and “No Light” send us back to Moore’s previous folk guitar roots.

Elsewhere is a compelling debut, on which Moore has successfully revitalised the folksy feel of some of her earlier work. For a first album, it’s certainly a triumph.