At the onset of this review I should counsel you to put aside your childish things, for example, Radio 1 and the like. There’s few instant hook-laden thrills here folks, and a collection of songs as diverse as you can imagine and frankly difficult to describe - this lady simply cannot be put conveniently into a media-friendly generic box, or fit into a newly created one (in desperation). Oh, and you can’t really liken her sound to an artist that everybody (conveniently) knows. If you caught her performance on Jools Holland’s Later TV show you may understand what I mean.

Now all the above makes this album all the more fascinating. Let’s get one thing out of the way from the off, Warren has a wonderful voice that sounds natural and easy, as if singing (and music) are in her blood. Her biography says there is no family musical collection, but there must be some way down the line - voices like this don’t come out of thin air. It’s a sultry, smouldering voice that capable of singing just about anything in any octave. The best way I can describe it is by using a photographic analogy: spot metering is the most accurate method of establishing the right exposure for a photo, as long as one meters off a mid-tone (not too light, not too dark). By this method, even in the most difficult lighting scenario, the final image should be fine. And so it is with Warren, who starts somehwere in the middle, and gets it all right. This applies also to her style which is midway between expressiveness and detachment. In short, this lady is distinctive, original and accomplished.

‘Year End Issue’ opens the album in steady-as-you-go, meandering acoustic style before a more adventurous ‘Three Women’ makes it entry. It’s upbeat, with an undulating vibe that takes her voice to several different places, aided by some strong multi-layered backing vocals. The melody is also more tangible. ‘To The Middle’ slots into a higher, faster gear to meet the first standout, ‘Title Track.’  There’s a reflective ambience, solid melody, wonderful lyrics and a beautifully judged instrumental arrangement that allows the voice to dominate, perfectly. This could well be one of my favourite songs of the year and a strong indication of the lady’s song-writing talent. She nails it again with ‘Sunday Comfort’, a blues song with gospel moments.

Warren then flirts with upbeat jazz on ‘Current Affairs’ before slinking back into blues tinged with country on another standout, ‘The Means To Be.’ ‘Sparkle And Fade’ changes tack completely with folk-pop sensability underpinning a much lighter but inventive song. ‘A View From The Rooftop’ is another favourite track here, which features some wonderful instrumental and backing vocal passages, driven by another powerful melody and musical adventure.  The song builds to a heart-stopping crescendo before instrumentally fading away.

This album has the stamp of authority and authenticity on it; this lady is the real thing, and the album an accomplished and exciting debut. It’s also a brave record that screams independence and self-belief, in that Warren has chosen to follow her musical instincts rather than compose for airplay. I also have the distinct feeling that the album performed live will sound even better, and I can’t wait…

4/5