I was pretty obsessed with Frou Frou’s Details, so when I heard that chanteuse Imogen Heap had struck out on her own with Speak For Yourself, I was giddy with anticipation at the prospect of having another phantasmic battalion of otherworldly-vocals-set-to-quirky-electronica to embrace. However, upon the first few listens, I was unconvinced by the production values of the songs. No, production value does not come before songwriting quality in my handbook for judging music, but if you’re familiar with artists similar to Frou Frou, you’d understand how absolutely crucial “the environment” is in their realm. A great melody on top of a crudely recorded punk song can still endearing because rawness is a part of punk’s aesthetics. A great melody on a less-than-inspiring bed of electronic flourishes, however, can totally nudge an otherwise excellent song into cheese factory. Think back to Peter Gabriel’s So: great tunes, but at times hindered by the ‘80s infatuation with terrible MiDi samples. That album survived the passing of time because the melodies are stronger than most (it IS Peter Gabrel, after all), but what about Speak For Yourself? Are its Garbage-ish guitars (“Daylight Robbery”) and robotic choirs (“Hide and Seek”) not just tasteful but brilliant enough to match and accentuate the mercurial vocal hooks, levitating it into greatness?

After further inspection, I’m happy to report that the answer is YES. Maybe I was just spoiled by the Guy Sigsworth arrangements on Details, because the knob work on Speak For Yourself is by no means amateurish. In fact, it is buoyant (“Have You Got it in You?”), dramatic (“Headlock”), and appropriately sparse at times (“The Moment I Said It”). It handles carrying the central figure of the story – Imogen’s vocals – with more youthfulness and wide-eyed innocence than Details’ futuristic, über sleek surroundings. The result is a less emotionally weighty and more “fun” listen than Details: not a bad thing at all.

Especially when, at the end of the day, it’s still Imogen’s impeccable voice at the heart of the matter. Like some heavenly bird, its unpredictable (yet divinely savory) movements ascend, drop, float, urge, tug, soothe, and glide with each delivery and choice of notes, yet somehow still able to tag every crevice of your heart. This is pop that’s entertaining, evocative, and intelligent. And without Sigsworth’s admittedly fabulous cut-and-paste vocal treatment, Imogen sounds more natural – full takes of verses and choruses! – as she sings most lines in one breath.

Speak For Yourself both distances Imogen from her Frou Frou past as well as pushes her into new territory. Thankfully, intact are the gorgeous, infectious refrains and her penchant for simultaneously surprising and endearing. Plus, it’s another great album to fall in and/or out of love to: I can always use more of those.
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Tim Den

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 Past Constructive Criticism

Andew Engstrom posted the following Constructive Criticism: As a creator/ composer of a science fiction progressive rock, "movie without images" called Volitar: Murder Mystery Mayhem and Alien World, I was happy to read positive comments about Imogen's lastest CD. To me, she's not a songwriter but, a composer. She's willing to take musical risks in a world that tries to create uniformity. <---- If that's even a word. I also appreciate the financial sacrifice she's made to produce the cd and wish her the best of success. She deserves it. Andy http://www.volitar.com