James Gavin Henderson is a multi instrumentalist and was born in Edinburgh, Scotland in 1975.
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The Edinburgh singer songwriter James Gavin Henderson has made one hell of a debut album, full of fantastic orchestral arrangements and achingly edgy songs. He played and wrote all ten tracks in his home studio and if he is given a bigger budget next time there is no telling what he is capable of. Hypocrite begins with a yearning falsetto and ends like an out-take from Massive Attack 's Mezzanine, while Amethyst is the kind of beautiful instrumental that Brian Wilson used to knock out in his sleep. The rest is sheer urban poetry. I can 't wait for the next one.
Behinds the prosaic title lies an intriguing solo debut from Gavin Henderson, an Edinburgh singer /songwriter who embraces serene melancholia in a variety of ways -in the mix of alternative country and plangent post rock that is the smog like Rush, in the folky Amethyst and with the occasional diversion into loops and samples. With its plaintive vocal, broody atmosphere and electronica embellishment, Hypocrite could be an out-take from the last two Radiohead albums, while closing track Scratch has some of the haunted weariness of Dead Can Dance 's Brendan Perry. Maybe next time he'll really get under the skin.
It opens with down beat folk - electronica and sci-fi samples, by Hypocrite and Amethyst it 's become mid period Radiohead complete with languid falsetto vocals. By Rene and the album 's closing tracks, Henderson is David Gray writing songs for Eddie Vedder. Very accomplished.
Acoustic guitar and beats -driven, melancholic haven for deep, dark and often disturbing emotions. The beats are in the tradition of Massive Attack, Tricky etc, but the songs have a more Radiohead slant with some classic ‘60 's structures and sweet, melodic and often falsetto vocals. The titles generally seem to be one word exclamations -‘Hypocrite ', ‘Scratch ', ‘Fire ' etc that leave the listener in an ambiguous mindset as the lush and orchestral layers pull you in deeper.
Lazily deceptive and sweetly melancholic, the album's mood slaloms between Beck-like acoustica (“Rush”), Radiohead spook-ballads (“Hypocrite ”) and creamy gently-spining Beta Band odysseys. Like the latter 's Steve Mason moonlighting between Blind-era Sundays and early Cure, with dizzying strings courtesy of Talk Talk.
One to watch.
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