By Deuce

The breadth of work, styles, voices, and genres, even, displayed on SINES’ Long Player, Gravity is, at times, a wonder to behold. Throw in the collection of cuts on random. Whatever tune you happen to land on will seemingly give you a different type of album—especially if this is your maiden voyage running through it.

For instance, were one to happen to tee things off with “Obsessed”, the final cut that largely appears to be a slowed down remix of “Self Obsessed”, an entirely different number, you might think this is something of an R&B album. The music is dominated by a piano, which sounds suspiciously acoustic. The female vocalist proves she’s no slouch behind the mic, riding the rippling piano notes on this ballad for all their worth. And whoever’s hitting those keys—which is quite likely DJ Jason Wann or one of his potnas, is really doing the thang, particularly on the second verse.

Then again, if you happen to have landed on “Girlfriend” as the first number on your random selection of cuts, no one would fault you for thinking this was a Neneh Cherry meets Prince post-modern funk type symphony of songs. It’s unclear as to whether the vocalist, Kitty Richardson, is rapping or singing on the verses, she’s so well mastered her monotone, minor-inflection-delivery that perfectly accentuates her UK accent. However, the pair smooth things out considerably on the hook, especially when Richardson melds a surplus of voices and harmonies into the refrain, while Wann wails away on something akin to an electric guitar—though it’s likely just a synth sound.

“Prelude”, the album’s opener, belies the rest of the project by consisting primarily of an all musical affair (though that could very well be Richardson hitting live the high-pitched vocal notes) comprised of big piano chords, shiny sparkly notes in parts, and a drum pattern as big as the Grand Canyon. In fact, the drum programming on this affair is a sheer delight in itself. Wann’s got a propensity for fattening his snares just right on the EQ tip, giving tunes like the title cut and “Supernova”, easily the best number on the album, some much needed swing.

The palatable pair, dynamic duo, and tempting twosome are in good stead on this one, and for the majority of the album, too.