A.A. Williams plays slow, toweringly crescendoing, gothic-tinged art-rock with world-weary noir cabaret overtones. If you feel “alone with nothing at all,” as Williams intones at the end of the second track on her debut album Forever Blue – or as washed-out and pale as she characterizes herself later on the record – this is your jam.
The first song on the album -streaming at Bandcamp – is All I Asked For Was It to End, an elegant, brooding, soul-tinged piano ballad slowly rising to an angst-fueled art-rock sweep with distantly searing slide guitar soaring overhead: “All I asked for was to end it all,” Williams quietly insists. It reminds of the quieter side of the Bright Smoke’s Mia Wilson.
Melt opens with a spare bass-and-vocal verse, then a skeletal waltz that follows a slow upward climb to majestic grandeur: “These choice will come back and I will go back into the night again,” Williams asserts. Dirt – an original, not the Iggy Pop classic – begins with hints of classic country and grows more envelopingly Lynchian. But at least there’s hope: “I never thought that I could hold on,” Williams muses through her wide-angle vibrato.
With her stark reverb-guitar intro, Fearless is another track that wouldn’t be out of place in the Bright Smoke catalog. Williams’ ominously overdubbed vocal harmonies and the unexpected descent into a death metal-tinged abyss provide a welcome, unexpected jolt.
Glimmer is a gloomy Britfolk-tinged waltz with smartly terse orchestration and the expected big crunchy crescendo. The album hits a hypnotically minimalistic interlude with Love and Pain, and then its most enigmatic track,Wait: basslines figure heavily in in both songs.
Williams closes the record with I’m Fine, a single bell tolling before the somber piano intro. It’s an apology for being depressed all the time. In the year of the lockdown, there’s no shame in that: it makes you one of the gang. Let’s just not let being depressed stop us from demanding our rights. No more lockdowns again, ever!