Holly Miranda - The Magician’s Private Library (XL Recordings)

Dave Sitek has become somewhat of an uberproducer of our generation. While still remaining true to his underground credentials, his stamp is now unmistakable having forged an enviable back catalogue of works. TV On The Radio is prime case in point, of course; his own band, and completely produced by Sitek himself, the influences drawn from that permeate damn near every facet of his work. And on introducing Holly Miranda to the world for the first full-length time, he has uncovered an unbridled talent not only willing to be harnessed, but perfect as a vessel to his own more grandiose tendencies. Her saccharine tales of dreamy sleep and forelorn relationships taking a definite precedence

‘The Magician’s Private Library’ has a core theme – that of Holly Miranda’s saccharine tales of dream ridden sleep and forlorn relationships. But with such an opening trident of songs, even the coldest heart could thaw in the presence of her achingly lovelorn tones. The childish nature of opener ‘Forest Green, Oh Forest Green’ is fortified in her romantic similes; throw in Kyp Malone and the track beckons a unexpected yet joyously emasculating experience, with their tandem wails of ‘Who’s got nothing to run from/do you?’ in the songs chorus providing a unison on not just the most obvious of levels. Even from this opener, it’s evident that there will be a haunting opus to come.

‘Joints’ allows Miranda to soar over a horizon of reverberated guitars and a sloping bass line (a staple of the Sitek process) before sliding into a triumphant, Blonde Redhead homage of horns and laid back percussion, while ‘Waves’ takes Miranda’s erly acoustic work and enhances it with soulful drums and subtle woodwind reminiscent of the slower moments of the likes of Sia or even, dare I say it, PJ Harvey. ‘Slow Burn Treason’ again enhances how Miranda’s vulnerable tones are a perfect protagonist to Sitek’s more minimal approach, again perfectly twinned with Malone’s falsetto twinges, while closer ‘Sleep On Fire’ again sways with the wind of the vocal creating a sound akin to the more laid back moments of Arcade Fire/ When you bear in mind that some of those highlights are from the first half of your first listen, it truly is an impressive feat to retain such an potent originality throughout.

Of course, the tradition of the great album is that it’s whole should be greater than the sum of it’s parts – and ‘The Magician’s Private Library’ comes oh-so-close to achieving that status of ‘defining debut album’. But on occasion, the balance is slightly misaligned, with Sitek’s huge ideas overpowering the forte that is Miranda’s tenderness. ‘No One Just Is’, for example, feels like an outlandish attempt at a Bond theme tune – all dramatic strings and misplaced shreds of organs, with the vocal sitting uncomfortably on top as a distant partner to the idea, while ‘Everytime I go To Sleep’ tries leaves Miranda seeming at a struggle to retain the playfulness so beautifully exuded at the beginning of the album. That aforementioned Sitek stamp at points like this are unfortunate, considering the accumulative talent that’s evidently on offer elsewhere.

But in truth, these are merely small points for what is an outstanding debut effort. Miranda’s talents are certainly undeniable, but whether she can creep out of the shadow of the beast that surrounds her will be a worthy test.

Words : William Grant