After establishing herself as an artist in her own right back in 2009, the last six years have seen Sara Lov work steadily towards, and achieve, her ambition of sharing her musical talents with the world and she does just that with album number three. The melodic introduction of this new collection’s title track makes for a simple but enjoyable start. Vocally, as a result of the stripped back instrumentation, Lov shines – it’s also refreshing for an album to gently lure a listener into an album rather than overwhelming them with sound from the get-go. “Diamond Of The Truest Kind” doesn’t work quite as well, but there’s a softness to the track that makes it an enjoyable listen regardless.
“One In The Morning” brings with it a sound reminiscent of performances by the likes of Tori Amos and Dido, but by switching things up and including a piano on “The Sharpest Knife”, she proves herself to be her own artist just as much as she shows off how many of her artistic counterparts have influenced her over the years. The track is the slowest number so far and may be a little too laid back for some listeners to play more than once, but the passion and emotion in her voice is undeniable.
Following on from that is “Rain Up” which continues the laid back theme she has going on and certainly lyrically, the song is somewhat weak and therefore likely to be skipped over by those who check it out. “Trains” fares somewhat better, offering up a more folk-style feel to proceedings, while the tempo picks up slightly with the arrival of “Sunmore” which is really hard to resist swaying to. “Sorrow Into Stone” meanwhile would work well as a future single release thanks to a clear, strong vocal and lyrics that somehow drill their way into your subconscious.
It’s a little disappointing therefore that Lov returns to the more sombre style of things via “Willow Of The Morning”, however the track itself does allow her another great opportunity to show off her impressive vocal skills – and she seizes the chance with all she’s got. Yes, the song is a little depressing, but the eerie tone with which she delivers it all but guarantees you’ll stick with it. The same can be said for closing number “The Dark” which starts off along the same lines, though it picks up about a minute or so in – the country edge given to the track thanks to the guitar makes it quite toe-tappy and a pleasant, enjoyable piece to end on.
By incorporating elements of pop, country, jazz, blues and folk into the collection, Lov has once again proven herself to be far more than a one-trick pony and a talent that, if there’s any justice, should continue to delight music fans for the foreseeable future.