TRACK REVIEW:
Nina Schofield
Over It Under It
9.5/10.0
Over It Under It is available from:
https://soundcloud.com/ninaschofield/over-it-under-it-nina-schofield-1
The E.P. Colours is available to order via:
https://itunes.apple.com/gb/album/colours-ep/id847601556?utm_content=buffer2c670&utm_medium=social&utm_source=twitter.com&utm_campaign=buffer
RELEASED: 07 April 2014
TRACKLISTING: Over It Under It Colours Everytime We Touch Breakaway
GENRES: Pop, Electro.-Pop, Soul _______________________________________________________
Her E.P. Colours is one of the finest records produced in 2014: a vibrant and passionate representation of a young woman with huge potential. Nina Schofield unveils one of the E.P.'s finest cuts- Over It Under It unites the catchiness and melody of Pop; the deep emotions of Soul; the shimmering beauty of the likes of Tori Amos and Ellie Goulding. Here is a talent that should not be overlooked
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HAVING spent the past few days reviewing musicians from Canada...
it is good to be back on home soil- featuring an artist I am very familiar with. Nina Schofield is someone I have reviewed previously- when her Colours E.P. dropped I was keen to get to work. It is great to see so many great female solo artists come through: each offer something unique and different; their own projection and personality- Nina Schofield is among the most talented and striking around. Her music is emotional: with resilience and strength, she mixes defiance with tenderness- bringing the listener into her deeply personal heart. I will touch more on Schofield's music- and her thought process- but will raise one issue: the solo market. Having consecrated my attentions towards bands- over the past week- I am reflecting on something more insular and unique- the music proffered by solo acts. The likes of La Roux have stamped out some of 2014's most distinct and stunning albums- the solo market is offering phenomenal works. As well as the boys are doing, it is the female side of the market that is impressing me most. In the mainstream, there are some terrifically confident and distinct artists emanating forth; each one seems to be in a league of their own- the realms of new music are providing even greater anticipation. Having assessed quite a few different (female solo acts), I am stunned by the audacious conviction and passion that comes through- with each new artist I take away something different; find myself inspired and surprised. The U.K. is hosting quite a few of the best and brightest in the world- from Soul-based divas to hypnotising Electro.-Pop mistresses; this country is showcasing just what is coming through. The next year will (hopefully) see some of our finest talent transcend to the mainstream; get their just rewards and hear their music put on a pedestal- the sheer effort and hard work they put in (to their craft) should see them succeed. Of all the artists I see coming through, Schofield is one of the most worthy and impressive. Few modern artists work harder than she does- having toured extensively this year, she is still going out and bringing her music to fresh and new crowds. Being familiar with her E.P. Colours- and having reviewed it- I can pay testament to just how amazing and full the music is. Drawing in influences of some of her idols- wrapped inside her distinct and original voice- you get terrific tracks that speak to every listener- few are going to be immune to the potency and weight of their majesty. Instilling lashings of flair, urgency and heartfelt sentiment (into her songs), Schofield mixes myriad themes and emotions- digging deeper than most of the contemporaries. Before I go into more depth, let me introduce my featured artist to you:
Keys and Vocals- Nina Schofield Guitar - Rob Harral/Chris Swan Bass - Ollie Chipchase Drums - James Birt/Pete Brazier/Callum Swift
"To mix thoughtful and catchy songs with a uniquely arresting voice and breathtaking beauty is a classic recipe for pop success. But singer/songwriter Nina has also shown a mature determination to achieve an international career. Classically trained and having successfully completed a Degree in Vocal Performance at the Academy of Contemporary Music she has done a great deal of professional work to widespread acclaim. Known as a singer from her early years she has performed in public since the age of 16. Nina was delighted to be invited to perform at the Montreux Jazz Festival, sharing the bill with the likes of Black Eyed Peas, Seal, Lily Allen, Jeff Beck, Gnarls Barkley and Ben's Brother. Since then, she has continued to perform live as well as working closely with internationally noted Producer Richard Niles (Sir Paul McCartney, Ray Charles, Mariah Carey, Kylie Minogue, Westlife, Tom Jones) with whom she has already produced two singles. She has worked in collaboration with musicians such as Richard Cottle (David Bowie, Seal, Tina Turner), the famous photographer Angelo Valentino (Kate Moss, Naomi Campbell, Usher) and one of America's hottest designers, Arianna Power (Kayne West, Estelle, Metro Station). Nina has performed her songs at venues across the UK such as The Buxton Dome, The Stoke Mandeville Stadium for the Paralympics Torch Lighting Event and many festivals. She was given the honour of singing at a British war hero's funeral at Winchester Cathedral and has since taken a passionate interest in supporting British troops including composing a beautifully moving song, “Slow Down Soldier” performed in support of Help for Heroes. The song reached number 4 in the iTunes Singer/Songwriter charts, overtaking both Damien Rice and Eva Cassidy. As well as supporting John Power (The La's/Cast) on two occasions, she has taken part in the semi-finals of the BBC Radio 2 Young Folk Awards. Radio airplay includes coverage by local stations such as Win FM, and, in addition to recorded plays, live studio performances for BBC Southern Counties Radio on South Live (syndicated across the southern counties), BBC Solent Radio, Hampshire and Guildford University Radio, Surrey. In addition to interviews on local TV, Nina recorded with the ACM Gospel Choir as aired on the BBC2 TV show “Genius” in March 2009 and was a featured artist on the Channel 5 advert for "Don't Stop Believing" with Emma Bunton in a national campaign."
A lot had happened in the last few years (for Nina). In addition to releasing an E.P., Schofield has been touring far and wide- she has been taking her Colours across the nation. Playing to crowds as diverse as school children and pub goers, all have been seduced and enthralled by her incredible live performances. Schofield aims to make her music as big and atmospheric as possible- she takes dark subjects and adds lightness and heart to them. In spite of having suffered heartache and upheaval, Schofield makes sure her music connects with people- her beautifully impassioned style and intelligently deep lyrics resonate with fans and listeners. Inspired by current acts like Ellie Goulding, Temper Trap and Lea Michelle; Schofield has her ear to the ground of current music- mixing in various sounds into her palette- separating herself aside from the majority of singer-songwriters. Schofield has never had a plan B: music is what she has always wanted to do; this conviction and drive has led to some incredible releases. Since 2010, our heroine has been producing music and collaborating with other artists- it is her dedication and consistency that makes her such a special treat. Spending her days glued to piano; melodies falling down on her, Schofield immerses herself in music- you can tell that few other things in life matter as much. Growing up in a musical household, Schofield was inoculated and entranced by various artists- enforcing her young mind and inspiring her path. She is going to be touring for the rest of the summer; absorbing all that new music has to offer- and the mainstream too- and soaking all those elements in- the sounds that our heroine produces draws in a wide range of different threads and considerations. With Colours gaining so much support and momentum, Over It Under It is being snapped up and paid tribute- it is also one of Schofield's favourite tracks. It is clear that a lot more music is going to come from her; with an unending and indefatigable passion for what she does, sounds are always being put out- every day new ideas and touches are being added. With so few of her peers possessing such a drive and determination, the next year will surely see Schofield go from strength to strength- new and illustrious tour dates; fresh releases; promising new endeavours. Knowing Nina personally, it is great to see her so full of life and fortitude- nothing will stand in the way of her goals and dreams.
Schofield's current endeavours arrive off of the back of a prosperous and busy history- the young artist has covered a lot of ground and been very prolific. In additioin to collaborating (with other acts), our heroine has produced a lot of original material. The songs Slow Down Solider (released in 2010) and He Said She Said (released in 2011) both featured on the 2011 album Drifting- other tracks from that album were also released. Having investigated the album I was impressed by how strong and meaningful (Schofield is) right from the off. That distinct and solidified personality is already developed- there were no nerves or anxiety (on her debut L.P.). It's Impossible sees revenge and retribution in mind- the track skips and trips with meaning and menace- the vocal is strong and soulful. Showcasing influences of Kate Bush- in the composition- there is a pleasing familiarity and classic Pop edge. With a resolute and focused flair, the song is the perfect opening track. The title track is grander and more sweeping- taking more time, our heroine stands strong and is in emphatic mood. Backed by strings and classic oeuvres, the song is lush and full-bodied- the mixture of romance and strength make it an instant draw. This Time shows Schofield presenting a ripe and fresh gem: a track you could see Ellie Goulding or Foxes cover, it is a big and mesmerising stamp of authority- compounded by that distinctly operatic vocal turn. Poppy and electric; spright and gritty, our heroine mingles multiple genres- underpinnings of R 'n' B and Electronica sit with Pop and Indie layers. Movie scenes and crowded rooms comer to view; Schofield's gift for storytelling and projection puts the listener in the heart of the song- you are captured by its charms and honesty. Mr. Nice Guy is lighter and more restrained- in the initial stages. Fettled and controlled, Schofield lets her softer side come through- the big and imperious chorus takes the track up a level. I Should Be Happy sees our heroine reflecting and thankful: if she falls and crashes to the ground, her friends will rally round- it is the most redemptive and inspiring track of the album. Instilling quirkiness and distinctly eccentric delivery, Schofield beautifully sprinkles elements of Never for Ever-era Kate Bush with shades of The Killers. Staggered by the breadth and ambition on Drifting, Schofield proved what a strong songwriter she is- at such a young age, it is staggering to see how much quality is on display. Showing no weak moments, it is a potent and compelling collection. Since then, I think she has improved- her confidence has risen and her songs are deeper and more layered. Backing away from avenues of Bush and the like, Schofield's voice sounds more developed and matured- she has child-like sweetness, but imbues more soul and nuance into her delivery. Colours sports an emphatic and uplifting title track. It is here where the transformation begins- with urgent and emphatic vocals, it is a standout track. Smoother and more serene (than previous offerings) our heroine indulges her silky and slinky corners; presents melodic and soulful sweetness- take that powerful chorus into consideration and you will not get the song out of your head. More extroverted and assured, Schofield is less introspective and heartbroken- the club-ready delirium (of the multiple layers) makes it a hugely impressive adventure. The likes of La Roux are portraying similar-sounding numbers- considering her album Trouble In Paradise is such a gem, that tells you all you need to know. Possessing equal authority and talent, Everytime We Touch keeps momentum strong. Sweeping and romantic, the ballad has sexy and seductive edges. Electro. beats make sure it has harder and primal lingerings; a stunningly addictive cut- it is a song as suitable for the summer beaches as it is late-night club scenes. Breakaway is introverted and emotional. Tender and delicate, you are caught up in the sheer beauty of the song. Our heroine looks at the world- if you need to find space and focus, then get away from things; ensure you make time for yourself. Coming from the diary pages of our heroine, it is like she is letting you into the world- giving the listener something intimate and personal (as well as) universal and endlessly relevant. The entire E.P. is assured and fascinating- it builds off of Schofield's incredible start and adds more power and beauty. Having augmented and galvanised her voice; increased her lyrical and compositional range- our heroine is at her most inspired and positive. Over It Under It is a rushing and catchy tune- an insatiable jam that looks at ego trips and proclivious figures. Showcasing a desire for tightness and focus, the track covers a lot of ground (in little time)- the song's direct and unabated drive makes sure the listener is fully on board. All of this points to a very bright next few years. Schofield gets more confident and impressive with each release- it will be phenomenal to see what she comes up with next.
Schofield is an artist that has a very particular and specialised personality. Showing an originality and distinction, she is among a small number of truly different musicians- those not indebted to anyone else. If you are looking for inspirations and some undertones (of other acts) I can recommend a few names. The first I will provide is Kate Bush. The queen of all music (in my view), I extrapolate and detect some of Bush's quirk and cuteness in Schofield- the two share the ability to bend and seduce words; provide lustful atmosphere and magic with scant effort. In terms of an album reference point (from Bush) the finest example is Never for Ever. That album remains a classic because of the range of songs- the spectrum covered is hugely impressive. The strange and beguiling power of Babooshka sits with the haunting and breathtaking Army Dreamers- where Bush mutates her voice from growling and tripping (on the former) to child-like and crystalline (the latter). Bush sounds more confident and solid here- after The Kick Inside gained mixed feedback. The dramatics and theatrical deliveries define the songs' perfections- rather than coming across as absurd and Muse-like- giving the album such a weight. The curvatures she puts into her voice make overt seriousness gripping and convincing; flights-of-fancy measured and controlled- when he voice pirouettes and dances, it never spirals recklessly. Schofield is a similarly impressive talent. Her voice springs and tip-toes; she can go from low and guttural smoothness to pin-sharp and howling execrations- every shade and colour she proffers seems elementary and divine. Bush tailored her vocal acrobatics around simple and storybook themes- Babooshka's motherly instinct were made golden with that peculiarly addictive vocal performance. Schofield's artistry and personality has some background in Bush's 1980 diamond- Colours draws some inspiration from Hounds of Love (Bush's defining moment). When Schofield lets her Pop side out it may be closer to Never for Ever- when dramatised and emotive, Hounds of Love seems to come through. The album showcased fear, anxiety and curiosity- revolving around tales of love, Bush managed to unite these diverse and disparate themes. Making people dance to the sound of a rusty pipe, the songs' bitter and haunted cores possessed manifest deliriousness and etherealness- Running Up That Hill (A Deal with God) is one of her most staggeringly exotic numbers. Tribal potency spars with lush orchestral moments; twisted boundaries mean the music is free and open- no shock that it remains her most inspired work. Natural world songs nestled with confessional love stories- the craft and memorable melodies stand up to repeat assaults. Schofield is similarly realised and ambitious- she has authority when ensconced in dreamy whirlpools; potent when striking outwards- her talent for tantilising compositions and gorgeous arrangements put me in mind of 1985 Kate Bush. The ormented and divergent grasps do not feel fragmented- every song and sound fuses wonderfully well. Colours does likewise: the E.P. has a similar headiness and entrancing ability. Tori Amos is another female icon- I can hear in Schofield's work. Perhaps more synonymous with her debut album period (Schofield), Amos's influence comes to the fore. Little Earthquakes (Amos's debut) is the most pertinent and apropos comparable. That album saw the young princess offer some uncomfortable moments and sarcastic output. While Schofield does not project these components, the intimacy and frankness is the most obvious familiarity. On Little Earthquakes, Amos seemed vulnerable and open- letting the listener into her tales of independence and defiance. That mixture of pained and empowered sits within Schofield's work. As passionate and potent as Amos, our heroine presents mini-operas and touching sagas- drapped around a stunning and gripping vocal. When Amos revealed Midwinter Graces, critics saw her break into colder and more reflective realms. I mention the album due to its serenity and diaphanous qualities- Schofield is as hypnotising when letting her voice campaign and seduce. The evocative and stately compositions- on Midwinter Graces- is scored by tranquil and seductive vocals. Schofield- when she goes into ballad terriroty- ensures that there is loftiness and gracefulness to proceedings. Before I mention some British influences, I will draw in one more American name: Michael Jackson. The way Jacko presented his distinct and unique vocal styles- the tics and mannerisms- made him such an inspirational figure. He could make gritty and urgent songs as unexpected as any song you have ever heard- his huge talent went into ever note. Schofield has a similar ear for vocals and style- she does not lazily implore or become predictable; the way she contorts and shifts notes; changes directions and elicits some personal mannerisms make her songs pop and fizz. On Jackson's Bad/Dangerous tenure he transformed from softer and more emotional boyfriend to an incriminated and discriminated-against rebellion. The former album saw anxiety for sure; it was more Pop-orientated and romantic- the hooks and panache made Bad so addictive. Rich, sexy and edgy, the album was a huge triumph- I can see embers within Drifting. Those same tales of love-against-the-odds, the strike-against-the-world determination and insatiable catchiness make its songs so nuanced and repeatable. When Colours came out, it seemed like Jackson's transition to Dangerous. That album has harder edges and more intent- it has that raw and strengthened focus; a wider range of sounds and emotions. Channelling pain and demons through the scintillating songs, the album is more rounded and intriguing. Schofield introduces more directness and confrontation on Colours- she keeps the cores of Drifting in tact and stretches them outwards. The crackling and body-popping jams of Dangerous effortlessly parabond with emotive and ethereal emotional tracks- it is a stunning acheivement. Schofield is as adept at fusing these sides; she presents more positivity and effervescence- whilst ensuring her songs have striking and addictive beats and dance. Two names- that inspire Schofield- are Ellie Goulding and Coldplay. The former artist is someone Schofield aims to see perform live- catch her new album out in the open. You can hear some familiar tones between the two. If you look at Goulding's 2010 debut- Lights- that album saw gushing and breathless rushes sweep the listener away. Tracks like Starry Eyed were undeniable smashes- that song is as addictive and indelible as any I have heard. The lush production and star-in-the-making confidence shines (in the album)- sparkling Pop and Folk-tinged heart blend without any fractions. Goulding made sure her personality and inner joy came out- there is no fakery or pretensions at all. Schofield makes her music equally inspiring and joyous- she introduces lush and swaggering compositions; danceable riots and earnest and heartfelt inner-visions. Schofield has the ability to craft modern-day dancefloor codas- the type of songs that get you onto your feet; can whip festival crowds into a sweaty whirlpool of dance. The skillful songwriting- of Lights- offers detours and sharp turns; superseding expectations and surprising listeners- it delves deeper than 90% of the Pop market. Synthesisers and drum beats provide primal urge; pianos and strings have cinematic draw- the album combines so much. Schofield manages to match Goulding for that mix of sounds and talent- an even stronger songwriter; our heroine keeps her songs unpredictable and endlessly fascinating. Goulding's album Halcyon (released in 2012), saw dynamism and opaque lyrics grip the heart- the staggering range of sounds make the album such a treasure. Huge wrecking ball Disco beats sit with robotic stutter; bird-like beauty and punchy Dance. The musical genealogy is amplified and upgraded; Goulding makes bids for stardom and glory- the leap she achieved showed a developed and consecrated sound. Schofield has made a comparable jump- her latest moves tie all of the Goulding hallmarks together with an ambitious and meaningful result- Colours is the sound of an artist who belongs in the big leagues; rubbing shoulders with her heroines and heroes. A Rush of Blood to the Head is one of Schofield's most treasured favourites- an album that has inspired her. Whilst Coldplay do not reach those heady heights now, the 12-year-old album is rightly regarded as a classic. Gone was the timidity of Parachutes: the band came across as confident and meaningful- songs such as In My Place and The Scientist are bona fide standouts. It is a planet-straddling and dictatorial album- one that wants to conquer all others. Sparse, strange and catchy could be words levied towards the album- they can be applied to Schofield's work too. Equally adept at making piano-led ballads entrancing and overwhelming, our heroine is just as comfortable when experimenting with sounds and themes- some of her songs match the best moments from A Rush' . The conversational and entrancing elements of the album ensure they resonate with the listener- the songs do not draw you away or divide attentions; they capture everyone and reveal layers over the course of listens. Surges, lustful passions- backed by a developed and pin-sharp falsetto- make them snapshots of life- events and capsules that every listener can relate to. Solid lyrical arrangements are bolstered by ambitious and ballsy musicianship grabs- few bands have such an ability to throw so much together with startling results. Schofield has taken the cores of the album to heart- her work possesses the same teardrops and heartfelt quiet; rampant and driving ballads; swirling and colourful codas- Colours contains the sort of tracks modern-day Chris Martin would steal. Before I go, I want to quickly introduce a quartet of names: Chloe Howl, Imogen Heap, Foxes and P.J. Harvey. Chloe Howl's Synth.-Pop songs have a rawness and combined sense of fun- she has sultriness and allure plus teenage rebellion and power. The way she channels frustration into chart assaults- songs like Rumour- make her a name to watch- quips and attitude are backed by huge Pop choruses. Schofield has enough spike and wit at her disposal; she turns subjects of resentment and accusation into stunning made-for-radio pumps- displaying the same innovative and direct hits (Chloe Howl perfects). Imogen Heap's modern movements (on Sparks) show crystallised and distilled emotions- she manages to compact so much emotion and sound into single songs. Heap introduces a range of characters and players; her odd phrasing and unique lyrics give the music a flavoursome and charming wink- her albums are packed with a wealth of fascination. Schofield makes sure her tracks are not stale and stolid: the way she manifests inner pain and joy is done with full regard towards individuality- you get a clear sense of a woman with her own distinct voice. Foxes' album Glorious was lauded because of its late-night passions and lustrous crackle- dark impulses and shadowy melodies make her work so outstanding and urgent. That tonic of carefree and haunting is what marks Schofield as such a relevant and daring artist- every mixed emotion she presents is authoritative and deep. P.J. Harvey is the final name I will present. Harvey's gut-wrenching and dramatic compositions come out in To Bring You My Love- an L.P. that has accessibility written all over it. Avant-garde sweeping emotions are focused by tight and controlled songwriting. Schofield manages to make her songs as evocative and stunning- she draws all of these artists into the background; keeping her foreground very much her own. It is because of these considerations and cohabitations so many people are excited.
Before I get down to reviewing Over It Under It- eagle-eyed may notice I have assessed the track previously. Determined to re-investigate one of this year's most urgent songs, one other strange thing may catch your eye- it has gained an extra point. Having listened to the track on and off- since Colours was released- I understand I was too cautious and closed-off- it is a song that reveals its true potency after repeated spins. It is immediacy and intimacy that start the song. With a piano flourish that is lush and rich, you are put in mind of Coldplay's A Rush of Blood to the Head and Hounds of Love Kate Bush- magisterial and tenderly emotional. Rolling and tumbling, it acts like rainfall- there is a consistent movement and flow that washes into your skin. Backed by echoing and warping electronic parables, that parabond gives the intro. an emotive and prosperous early life- you are compelled and intrigued by the fledgling seconds. Rushing and sweeping, the initial refrain splendidly leads our heroine in. Her voice determined and breathy, we see her in fragile and vulnerable mood- the first line is "Caught on my own again." Keeping her soul and focus levelled gives listeners a chance to bond with the soft side of the song. Schofield presents a teasing and alluring vocal side- something that has been shown in a lot of her early work. With our heroine lost in confusions and doubts, one feels that a love may have broken down- perhaps her man has walked away or an argument has occurred. The sense of dislocation and hurt comes through in the performance- you instantly sympathise and yearn to hear the details (behind the lyrics). The track begins to build; Schofield becomes more urgent and insistent as she builds her words up and up- her boy has shown recklessness and a lack of maturity. With arrogance and inconsiderate behaviour being displayed, it is perhaps a good thing (that the love has dissipated)- it seems her man was not all he was cracked up to be. As each line grows with anger, the vocal rises to the challenge- it is breathier and much more determined. By the :40 mark, the chorus explodes into life. A dazzling and vibrant spectrum of colours, the edges break- the restraint is gone and Schofield lets her voice soar. Propelled by dizzying and rambunctious electronics, a summery and dance-ready swagger comes into effect. Our heroine does not portray rancorous anger and virulent accusations- she is over the worst of it; seemingly relived to be clear of such a human, the performance is instilled with loftiness and huge energy. Perfectly conjoining Ellie Goulding's heady and atmospheric Halcyon cuts- with some of Coldplay's early gems- the chorus is punchy, packed and pugnacious. Our heroine lets her voice power and project- the amount of strength she manages to whip up make sure you are singing along; caught in the wave of emotion and directness. After that burst of rebellion, Schofield calms and retreats. Her boy has clearly screwed up and taken too many liberties- our heroine ensures that he does not get back into her life. Imploring him to go away, a tactility is shown- not wanting to be touched, it is obvious things are beyond repair. Displaying a soulful maturity, Schofield ensures the words do not succumb to immaturity and histrionics. The stronger and ethical party, she is free to cast blame and aspersions. Her loser boy has clearly been catting around town; pursuing a woman- she is what he wants - any sympathy is obsolete. The disreputable idiot is chasing a woman who seems wrong and immature- Schofield has little time for his indiscretions and unfaithful lust. When things go bang- and they will- she advises not to pine or come crawling back- if he wants a comforting shoulder, he should look elsewhere. Thinking of "anyone but you" our heroine wants her former beau to fall- get a taste of his own venomous and poisoned medicine. Throughout the verse you can feel the vocal start to rise again- the tones because higher and crystal as the atmosphere swells and grows. Displaying an intuition for pace and composition, the song is not too crowded or cluttered- the vocal is up front in the mix; fascinating undertones of electronics add energy and potency. When the chorus comes back home, you learn more about the circumstances- can empathise with the heroine and join her in song. Instantly on her side, she is not downtrodden or woeful- her full and sky-scraping vocal is designed to get feet moving and arms swaying. Sparring club beats with Pop rushes; electronic parable with pummeling percussion, the lines and sounds go straight to your head- it is a drunkening and heady concoction. With her ex being such an egotistical and cancerous human, the song ensures that everyone roots for Schofield. When the words "I'm over it" are repeated and echoed- the stuttered and juddering delineation adds spark and electricity to the song's key message- our heroine demonstrates her cutting-edge and contemporary qualities. A vocal and presentation that could easily dominate the charts, the likes of Goulding, La Roux and Foxes struggle to offer a similarly evocative and ear-catching semblance. Slinky, moody and low-down, the vocal is huskier and more alluring- beautifully partnering the sweet and high-sounding backing (vocal), the track steps up another gear- such is Schofield's talent for mobility and transformation it almost passes you by. Too good to be made a fool of; too proud to cry her heart out, she is brushing the boy away- emasculating him with her cutting and meaningful sting. Whomever inspired the song is being given a thorough dressing-down. Just when you think the chorus is coming back to roost- most contemporaries would launch into the chorus- Schofield defies expectations; taking the song in another direction and ramping up the curiosity. Returning to previous lines- about being over it- this time the projection is different. The vocal- in the background- becomes more echoed and haunted; electric guitar lines are infused- the twirling and dervish-like composition elicits more of an energised rush and sense of smile. Never letting the song become depressed or mordant, our heroine keeps the energy high- that bright and glaring soul shines from start to finish. The song has the potential to soundtrack any occasion- just at home on stereos of cars pounding the open road; for the late-night rendezvous of clubs; the festivals under the burning sun- Over It Under It has no barriers or limitations. Before the mantra is repeated, our heroine punctuates the bridge with a swooping and vivacious electronic swallow. Building the foundations ever higher, Schofield backs her voice with cooing and wordless interjection- the sense of emancipation and freedom shines. One of the best kiss-off tales, you would imagine the nameless suitor feeling appropriately shamed- few songs have lashed as insistently and dangerously as this. Before the song comes to its conclusion, our heroine takes the volume down- the electronics disappear and dissipate (to be replaced by piano). Soft and conclusionary, Schofield shows her soft and graceful side- ensuring that she keeps the listener guessing and surprised. Few would expect the song to wrap up with such a beautiful sound- electronics are offered back in but stay demure and non-intrusive. By the final notes, you try to digest everything that has come before- it is a dazzling song that lodges in your brain and compels you to instantly replay.
With Over It Under It gaining some positive and impassioned reviews, it is only right I provide my support and praise. Having known Nina Schofield for a while, I am always delighted when her music comes out- something new and fresh is offered up. With every move she grows in stature and confidence; adding something new into her armoury- her latest single is the sound of a young woman with huge ambitions and intention. Someone who is primed for the mainstream- it cannot be long until she follows her heroes- I hope she gets as much appreciation and patronage as possible. Colours clearly struck a chord with listeners: receiving unanimous praise, you would forgive Schofield if she relaxed and took some time off- having worked so hard this last year. The young singer wants to get out there and perform: from school children to local revellers, she wants to make sure she touches as many as possible. Too many modern-day acts put in little effort; detach themselves from people; are contented to settle back and wait for the cheques to come in. Schofield is one of the most itinerant and tireless musicians out there- it is this determination and unwavering passion that will see her succeed. I fell in love with her E.P.; was amazed at the developments and new stories that came to life- the way each song was portrayed truly takes your breath. Not confined to fans of Ellie Goulding and Coldplay, her work is ubiquitous and bordeless- the sounds and sensations can be enjoyed and appreciated by every type of music-lover. Over It Under It keeps snaking and moving; the developments and progressions throughout the song take your mind in all sorts of directions. The production on the track is stunningly clear and consise- it allows the voice to shine (and ensure that none of the compositional strands get buried or distorted). Shiny and polished, it means the song comes across as hugely energised and urgent- not too shiny; it ensures the song isn't gaudy and hollow. The performance from Schofield is stunning indeed- it is one of her most powerful and dominating vocal turns to date. Switching from gentle and tender to an emphatic and belting climb, she switches emotions and directions without stumbling or losing momentum- her vocal authority and passion never relents. Renowned for her distinct and compelling voice, it is put to full use here- few other songs see so much colour and contour projected (in such a short time). Of course, songs do not often succeed from vocal turns alone. With a stunningly emotive and sparkling composition- drawing Electro. rush with piano-led Pop swathes- it is a rich and deep mandate- with multiple layers and some incredible details. A clear eye for melody and nuance means the song keeps offering something new- the intelligence and thought imputed differs from a lot of the mainstream. Other acts- covering similar themes- would simply throw in as much force and volume in as possible- with no regard for concision and passion. Schofield makes stories of deceit and cheating sound upbeat and elliptical- the same sort of trick the likes of Kate Bush and Tori Amos pull off. Marking herself out as one of this country's most unique talents, her blend of quirk, stunningly gorgeous vocals and musical talent makes her a fully-rounded and indefatigable talent- one who never stops working. Capable of mingling simple and direct messages with deep and emotive insights, Over It Under It is a song that will soundtrack the summer- if you listen to it (and do not sing along) you may technically be dead. The fact that Colours is filled with songs of equal weight- or higher- shows how consistent and high-reaching Schofield is- how many new musicians can grab you so instantly? If you are looking for a track that can elevate your mood; keep your thoughts occupied with fascinating scenes, dreams and thoughts- you need to investigate Over It Under It.
One of my ambitions this year is to see Nina Schofield in the live environment. The gorgeous Surrey-based singer is one of the most engaging and nicest artists I have come across- her songs are those which break through barriers; provide new spins on topics of love and loss; inspire hosts of listeners and people. Being someone enamoured of Indie and Grunge territory, I find myself yearning for more Schofield-produced music- when listening to her songs, your mind is freed and taken somewhere quite special. Entranced by her vocal magic- melting shades of Coldplay and Ellie Goulding in addition to her sensual and sweet-natured sound- few other singers resonate in the mind. Her lyrics go deep but stay relatable: Schofield takes in universal and ubiquitous topics; marrying them with her own inimitable personality and blend of sounds. Backed by compositions that are full-bodied, emotive and multifarious; our heroine skillfully blends in various genres- '90s Indie-Pop, '70s Soul and modern-day Electro. are commingled. It would be axiomatic to say that things are going to get better for Schofield- with such an innate passion for her art, we are going to hear a lot more work come from her. Her seductive and staggering beauty is only surpassed by her insatiably addictive music- it is small wonder she is gathering so many fans and so much pace. Colours is an E.P. I have reviewed before; Over It Under It is a song that I have focused upon- its ageless and nuanced quality compelled me to re-investigate it. Having published such a layered and diverse E.P.- which retains Schofield's personality- I keep coming back to it- repeating songs and being swept up in the rushing power and vibrancy of the music. In an industry where the mainstream artists are starting to tire; the band market is starting to take the majorative market share- it is down to the solo acts of the underground to come through and shine bright. Nina Schofield is a mature and focused artist that has worked her socks off- and seems incapable of slowing or relenting. I shall wrap things up with a few more words- pointing out just where our heroine is headed. Having such a love for Pop and Electro. acts (like Coldplay and Ellie Goulding), it is clear Schofield has a passion for contemporary and current sounds. Growing up with so many fascinating and legendary musicians, this mixture of old and new makes her music so inspired- you are going to struggle to find many other artists that do things quite like her. As we reach the final months on 2014, Schofield should be very proud of what she has achieved- having touched so many people, there is going to be big demand (for her) in 2015. Over It Under It is a stellar statement from a young woman with a huge soul- someone who never stops moving and creating. With so many great new musicians coming through, it is wonderful seeing the diversity and quality shining. So much is on offer for the hungry listener; Nina Schofield is a colourful and eager artist that deserves huge success and patronage. Given her tireless work ethic and relentless creativity...
THAT will not be too far away.
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