Skip to main content

Niki King – The Everlasting Energy of Love (Soul Route)

Four stars

 

Niki King sports flowing white robes offset against a starlit sky in publicity shots for the Edinburgh sired singer’s sixth album. If this image suggests some kind of celestial awakening, the record’s title too hints of personal and spiritual transcendence across a self produced set of songs of strength and heartbreak.

 

Set to a lush backdrop provided by a band with roots in Edinburgh’s criminally unsung after-hours jazz-soul scenes that King emerged from in the 1990s, the album’s twelve cuts show off the light and shade of love, life and everything that goes with it. This makes for an eminently grown up collection that is by turns reflective, mournful and redemptive.

 

The opening ‘Soul Route’ is a horn-led statement of intent featuring a core of keyboardist Steven Christie, guitarist Aki Remally, double bassist Paul Gilbody and drummer Stuart Brown. ‘Dreamer’ charts the travails of attempting to navigate around a fickle music business in a song that becomes an anthem for persistence on a par with Sade’s ‘When Am I Going to Make a Living.’

 

All this is wrapped up by a string quartet arranged by Pete Harvey, harps and a horn section. At the record’s heart, however, is King’s voice, which remains rich, impassioned, determined and defiant.

 

King may be launching the record at Edinburgh’s Queen’s Hall this month, but it sounds sired in the late night melting pot of Henry’s Jazz Cellar where she cut her performing teeth. This new opus sits too alongside the recent stream of releases by King’s Edinburgh contemporary and kindred spirit Joseph Malik.

 

If The Everlasting Energy of Love came out of Memphis or Detroit, it would be rightly hailed as a cosmic masterpiece and garner global acclaim. Close your eyes as you sink into its riches, and make it so.

 

The Everlasting Energy of Love is released on Soul Route Records on 10thFebruary. Niki King plays the Queen’s Hall, Edinburgh the same night.


The List, February 2024

 

ends

Comments

Popular posts from this blog

Losing Touch With My Mind - Psychedelia in Britain 1986-1990

DISC 1 1. THE STONE ROSES   -  Don’t Stop 2. SPACEMEN 3   -  Losing Touch With My Mind (Demo) 3. THE MODERN ART   -  Mind Train 4. 14 ICED BEARS   -  Mother Sleep 5. RED CHAIR FADEAWAY  -  Myra 6. BIFF BANG POW!   -  Five Minutes In The Life Of Greenwood Goulding 7. THE STAIRS  -  I Remember A Day 8. THE PRISONERS  -  In From The Cold 9. THE TELESCOPES   -  Everso 10. THE SEERS   -  Psych Out 11. MAGIC MUSHROOM BAND  -  You Can Be My L-S-D 12. THE HONEY SMUGGLERS  - Smokey Ice-Cream 13. THE MOONFLOWERS  -  We Dig Your Earth 14. THE SUGAR BATTLE   -  Colliding Minds 15. GOL GAPPAS   -  Albert Parker 16. PAUL ROLAND  -  In The Opium Den 17. THE THANES  -  Days Go Slowly By 18. THEE HYPNOTICS   -  Justice In Freedom (12" Version) ...

Myra Mcfadyen - An Obituary

Myra McFadyen – Actress   Born January 12th 1956; died October 18th 2024   Myra McFadyen, who has died aged 68, was an actress who brought a mercurial mix of lightness and depth to her work on stage and screen. Playwright and artistic director of the Royal Lyceum Theatre, Edinburgh, David Greig, called McFadyen “an utterly transformative, shamanic actor who could change a room and command an audience with a blink”. Citizens’ Theatre artistic director Dominic Hill described McFadyen’s portrayal of Puck in his 2019 production of A Midsummer Night’s Dream at the Regent’s Park Open Air Theatre in London as “funny, mischievous and ultimately heartbreaking.”   For many, McFadyen will be most recognisable from Mamma Mia!, the smash hit musical based around ABBA songs. McFadyen spent two years on the West End in Phyllida Lloyd’s original 1999 stage production, and was in both film offshoots. Other big screen turns included Rob Roy (1995) and Our Ladies (2019), both directed by Mi...

The Passage – Hip Rebel Degenerates: Black, White and Red All Over

Prelude – The Power of Three   Fear. Power. Love. This life-and-death (un)holy trinity was the driving force and raisons d’être of The Passage, the still largely unsung Manchester band sired in what we now call the post-punk era, and who between 1978 and 1983 released four albums and a handful of singles.    Led primarily by composer Dick Witts, The Passage bridged the divide between contemporary classical composition and electronic pop as much as between the personal and the political. In the oppositional hotbed of Margaret Thatcher’s first landslide, The Passage fused agit-prop and angst, and released a song called Troops Out as a single. The song offered unequivocal support for withdrawing British troops from Northern Ireland.    They wrote Anderton’s Hall, about Greater Manchester’s born again right wing police chief, James Anderton, and, on Dark Times, rubbed Brechtian polemic up against dancefloor hedonism. On XOYO, their most commercial and potentially mo...