Delyn Grey Goes For “Daddy’s Love” On New Single
The latest offering from Delyn Grey, “Daddy’s Love”, has a cathartic effect on listeners. The tune is structured differently than most numbers are which significantly contributes to such an experience, particularly when the electric guitars are flaring on the hook and for the grand finale.
It’s also rife with highs and lows and an emotional cleansing—or at least draining—alluded to in the lyrics. Altogether, it’s a creative piece imbued with a number of counterpoints that leaves you in an uncertain space upon its conclusion, perhaps trying to simply understand what just happened.
For example, the verses are something of a combination between spoken word and a disaffected form of singing. It’s almost like she’s talking in some parts, or perhaps going through a melody without much inflection. However, she is at all times—on the verses, that is—surrounded by an obese piano that’s strong enough to encompass a bass line with its dominance.
The transition is relatively abrupt to the chorus in which the electric guitars trump the piano (which gets totally abandoned) with incendiary fireworks as the singer adopts more of a screaming style of vocals. Perhaps most notable about this passage is the frequent and even flagrant use of tom toms that accentuate the off-beat, on-beat nature of the drums. It’s difficult to tell if they were played live or programmed (likely the latter), but they help elevate the overall sentiment conveyed in the work.
Even more significantly, perhaps, they’re attributed to Grey who also wrote and produced the number while enlisting the aid of Kyle Texiera on the moog and bass and Chris Macfarlane on the guitar. Vic Florencia is responsible for the mix while Harry Hess mastered the song.
The thing is, each of these passages—the verses and the chorus—seemingly take you in different directions. There’s a sharp dichotomy between their sound and impact and, by following one another, they produce pitched opposition in what it feels like to listen to the tune.
Such a collage of sonic images certainly helps to keep one riveted to the composition, which is never a bad thing, enabling Grey to truly stake her claim not just as a musician, but also as an artist.