Nowhere Sounds Lovely
Nowhere Sounds Lovely connects a journey through America with a search for an individual sound. Cristina Vane uses old blues forms while making room for country and bluegrass. Her guitar playing holds those different sides together. The slide parts in particular give the songs a recognisable voice alongside her clear, expressive singing.
Blueberry Hill offers an inviting start. Electric guitar and slide respond to each other while the melody keeps the movement light. The title belongs to an original composition here. Vane describes places without turning her songs into travel reports. The setting consistently connects with a personal feeling.
On Travelin' Blues, acoustic guitar and slide fit neatly together. The fluid movement suits the subject: life on the road can mean freedom, but also a way of avoiding problems. Heaven Bound Station chooses a livelier combination of slide and fiddle. The guitar playing remains precise enough to keep that activity clear.
Prayer For The Blind brings out the bluegrass side, with banjo and fiddle keeping each other occupied. The Driving Song turns darker instead. Its electric guitar sounds rough and the melody leaves room for doubt. That variety gives the album more character than a collection of style exercises.
Satisfied Soul finds calm in a country waltz. The gentler arrangement suits the need for a sense of belonging that returns in these songs. Vane keeps her delivery natural here too. She does not need to enlarge the emotions to communicate them clearly.
The appeal ultimately lies in the cohesion. Guitar, voice and subject consistently move together. Nowhere Sounds Lovely draws on plenty of older music, but the personal perspective makes it lively and individual. It is a strong debut with particularly assured guitar playing.
