Melanie DeBiasio Brings Her Haunting Jazz-Influenced Sonics to the Rockwood
Belgian chanteuse Melanie DeBiasio explains her music not as jazz but as influenced by it. Whatever genre she may fall into – torch song, soul, blues, indie classical or rock – it’s unquestionably noir. Go to DeBiasio’s bio at her webpage and see how gratuitously one writer managed to wrap up his review with a bit of dialogue from the classic film noir Ascenseur Pour L’Echaufaud…and the irony is that the reference actually isn’t gratuitous at all! DeBiasio has a second album, No Deal, streaming at Spotify and an album release show on Oct 1 at 8 PM at the big room at the Rockwood. The show is free but you have to rsvp to email@example.com.
DeBiasio straddles the line between brassy and brittle on the album’s achingly brief opening track, I Feel You against minimalist piano and swooshy cymbals, capping it off herself with a lingering bass flute solo. Singing in English with a bit of a Wallonian accent, she slinks into noir blues (in 11/4 time), dancing drums contrasting with ominously echoing Rhodes piano, on the album’s second track, The Flow.
DeBiasio’s stoic but wounded vocals on the album’s rainswept title track draw a straight line back to one of her big influences, Nina Simone, while the terse, pensive piano and outro atmospherics look back to Pink Floyd’s Richard Wright. Resonant piano and brushy drums build a Lynchian suspense on the instrumental With Love, followed by the swaying, syncopated noir blues Sweet Darling Pain, another vividly Nina Simone-influenced, hypnotic one-chord jam of sorts. Then DeBiasio does the same thing with I’m Gonna Leave You, a woozy electronic loop oscillating in the background. The album’s final, longest and most minimalist cut is With All My Love, eight-plus minutes of resignation and apprehension from DiBiasio against a brooding backdrop of spacious, distantly eerie drum rolls, piano and electronic atmospherics. Monochromatic? Absolutely: black and white and every shade of grey, like a good film noir.