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She & Him - Volume One
Most will recognise Zooey Deschanel (She) from her role in Almost Famous as the bright, rebellious sister with the giant box of vinyl. Since this big break Deschanel has followed a career of cultish success on the silver screen that has often found her treating viewers to her delightfully warm Springfield-flecked vocals via a plethora of oddball song scenes ('The New Guy', 'Bridge to Terabithia'). M.Ward (Him) will be more familiar to most as Portland's creatively-rich champion of a rich seam of new generation Americana.
'Volume One' finds this unlikely duo coming together to shape an album of original compositions (written by Deschanel, produced by Ward) and covers of a handful of evidently much-loved classics. And it's a delightfully light listen. Whilst Deschanel may not (yet) have the lyrical depth of more established songwriters, it's her rich, sumptuous voice that relentlessly steals the show. Some would even go so far as to say that this lyrical naivety actually supports her sugary range by lending the album a wonderful added sheen of innocence and purity that's understated and intoxicating.
The opening self-composed 'Sentimental Heart' is a spotless introduction and a splendid example of precisely why this album and this collaboration works so well. Built beautifully around a simple acoustic guitar line it edges forward with an engaging mix of clarity and golden-era sheen. The lyrics wash over you quickly, but it is Deschanel's honeyed voice and Ward's Spector-like production that pulls you in and sends you effortlessly tumbling back over 4 short decades.
The covers are a slightly different proposition altogether. Totalling three they bring to the album a different pace and vary considerably in their level of success. Most enchanting is their recording of Smokey Robinson's 'You Really Got a Hold on Me' which sparkles with personality and finds Ward bringing his sandy, melancholic voice to the party. It's a runaway success and an album centrepiece that sits in stark contrast to 'Sweet Darlin', a rough home interpretation of 'Swing Low Sweet Chariot' with more production buzz than a matchbox full of angry house flies.
Effervescent in spades, 'Volume One' nonetheless is a recording of delightful simplicity; an unlikely series of cult summer anthems that twinkles and giggles at every turn. For Deschanel it's a sprightly introduction to her evident songwriting and vocal charms, whilst for Ward it's further evidence (after his success with Jenny Lewis and his canon of solo work) that he is a musical chameleon who barely puts a foot wrong.
Matt Brown
'Volume One' finds this unlikely duo coming together to shape an album of original compositions (written by Deschanel, produced by Ward) and covers of a handful of evidently much-loved classics. And it's a delightfully light listen. Whilst Deschanel may not (yet) have the lyrical depth of more established songwriters, it's her rich, sumptuous voice that relentlessly steals the show. Some would even go so far as to say that this lyrical naivety actually supports her sugary range by lending the album a wonderful added sheen of innocence and purity that's understated and intoxicating.
The opening self-composed 'Sentimental Heart' is a spotless introduction and a splendid example of precisely why this album and this collaboration works so well. Built beautifully around a simple acoustic guitar line it edges forward with an engaging mix of clarity and golden-era sheen. The lyrics wash over you quickly, but it is Deschanel's honeyed voice and Ward's Spector-like production that pulls you in and sends you effortlessly tumbling back over 4 short decades.
The covers are a slightly different proposition altogether. Totalling three they bring to the album a different pace and vary considerably in their level of success. Most enchanting is their recording of Smokey Robinson's 'You Really Got a Hold on Me' which sparkles with personality and finds Ward bringing his sandy, melancholic voice to the party. It's a runaway success and an album centrepiece that sits in stark contrast to 'Sweet Darlin', a rough home interpretation of 'Swing Low Sweet Chariot' with more production buzz than a matchbox full of angry house flies.
Effervescent in spades, 'Volume One' nonetheless is a recording of delightful simplicity; an unlikely series of cult summer anthems that twinkles and giggles at every turn. For Deschanel it's a sprightly introduction to her evident songwriting and vocal charms, whilst for Ward it's further evidence (after his success with Jenny Lewis and his canon of solo work) that he is a musical chameleon who barely puts a foot wrong.
Matt Brown
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