The prestigious Qobuzissime award serves as a beacon for albums that embody freshness and excitement, and Molly Lewis' On the Lips fits this description impeccably. While lounge singing may have fallen out of vogue, Lewis revitalizes the scene with her unique lounge whistling, injecting a breath of innovation into the genre.
On the Lips mesmerizes listeners from its inaugural notes; Lewis's ethereal whistle cascades over the goosebumps-inducing opening title track. Throughout the album, Lewis's theremin-like whistle takes centre stage against backdrops evoking a bygone era of grandeur and luxury. From the ambience of Italian cinema to the allure of Jazz-Age nightclubs and the rugged landscapes of spaghetti westerns, her whistle cuts through with precision like a knife through butter.
While many tracks possess a quality that could effortlessly accompany films, the beauty lies in their ability to stand alone, allowing listeners to craft their own narratives. "Crushed Velvet" transports listeners to Ennio Morricone's cinematic landscapes, while "Slinky" propels them into cosmic or aquatic realms. Lewis's spacious whistling, enhanced by an exceptional backing band—Joe Harrison on flute and bass, Eric Hagstrom on drums, Thomas Brenneck playing the organ, and Lewis also contributing to the guitar lines—leaves ample room for imagination to roam free. Lewis particularly shines on some of the classic covers on the album, such as Dave Berry’s standard "The Crying Game", and "Porqué Te Vas", from Carlos Saura’s masterpiece Cría Cuervos.
Recorded at Diamond West Studios in Pasadena, California, and produced by Brenneck (Menahan Street Band, Dap-Kings), On the Lips beckons listeners into a realm of sultry melodies and intimate moments. Armed with her singular talent, Molly Lewis emerges as a master creator, conjuring bygone Hollywood venues, tender embraces, and the essence of luxury and life.
评论72