Amanda Easton’s Wallflower LP Can’t Drop Soon Enough

By Deuce

Now, as just about any and every true music aficionado knows, there are singers and there are vocalists. One listen to “Girl in the Song”, the first cut on the forthcoming Long Player Wallflower by Amanda Easton, and all doubts as to which one the young woman is floats away with the marvels of her voice.

Quite simply, her vocals dominate the song, which is no mean feat considering it’s like the quintessential James Bond soundtrack single, something akin to “GoldenEye” (which just so happens to put Easton in the same category as Tina Turner on that ditty).

Moreover, the former showcases the rare ability to flip styles in mid-song. The huskiness of her voice is immediately noticeable, more so than the fat snare and sparse drum pattern during the opening seconds of the tune. Her voice has the capacity to seduce, question, turn coquettish, and perhaps even turn you down—all in a couple bars.

Plus, there’s arcs, fluid waterfalls, and aerodynamic swan dives in her inflection, particularly on the longer notes, which reinforce the James Bond feel, firmly centering the tune solely on her vocals. If possible, she sounds even more sultry on the second verse, wondering aloud “am I the one who makes you high” with a cogency that belies the need to even ask.

And, of course, she’s one of those vocalists who sounds good without any words whatsoever. Her crooning at the outset and conclusion of the track readily demonstrates this fact, which does an excellent job of building anticipation for the February 20th (02/20/2021, that is) release of the full length. The project has 11 songs not including a bonus remix of “Girl in the Song” on the digital version.

The official first single for the LP, “At the Door”, builds on the hype for the album which is distributed by Renaissance Records for the vinyl format. The artist—and the tune’s producer—do a credible job of convincing the listener for the first verse and hook that the song’s a ballad. It’s slow and progressively builds up with loping chords on the synthesizer, which do nothing if not showcase the strength of Easton’s vocals.

When the drums do kick in (devoid of high hats, as was the case in the other number), it becomes clear this is a mid-tempo affair, providing yet another glimpse of Easton’s considerable range.

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