Imogen Heap Albums (3)
What The Critics Say
It took seven years for Imogen Heap to follow her debut album I Megaphone with her breakthrough Speak for Yourself (during which time Heap was in Frou Frou with Guy Sigsworth), so the four-year gap between it and its follow-up, Ellipse, feels relatively short. Speak for Yourself's stunning single "Hide and Seek" took on a life of its own, partly thanks to its use in a crucial scene in the teen drama The O.C., but mostly because it was so spare and bittersweet: Heap's heavily processed vocals became more affecting because of those effects. That sound was so distinctive, it would have been easy for Heap to fall into the trap of trying to recapture that magic. Instead, Ellipse is some of her most wide-ranging work, physically and musically speaking. Heap recorded the album in locations ranging from Hawaii, Fiji, and Thailand to her home studio; while only a few songs feel overtly globe-trotting, like "2-1"'s slightly Eastern melody and the eco-conscious "Earth"'s African-tinged arrangement, Ellipse's well-traveled origins are revealed in the immediacy and urgency of its songs. Heap has a gift for crystallizing unique emotions in her music, and that's especially true of "Little Bird," which contrasts slightly dark meditations on everyday life ("Orange juice, concentrate/Crossword puzzles start to grate") with the musical equivalent of sunbeams, and "Between Sheets," which mixes romantic bliss and bubbly electronics so completely, it suggests her bed might be on a spaceship. Heap takes listeners on a tour of characters and attitudes far more eclectic than her previous albums, from "Bad Body Double"'s sassy rant about a copycat to "Wait it Out"'s breakup aftermath. Throughout it all, she never loses the slight oddness that makes her music so distinctive, whether she describes pulling away from a kiss as "mouths are fleshing over" on "First Train Home," scatters electronic blips and flute wisps through "Tidal," or makes "Aha!" witchy and mischievous enough to appear in a Tim Burton film. Soft but far from sedate, Ellipse might not have a single moment as arresting as "Hide and Seek," but it's some of Heap's most engaging work. ~ Heather Phares, All Music Guide
'Speak for Yourself'
Release Date 1/1/2005
Tracks 12
Label Megaphonic
See Album Tracklist and Review
What The Critics Say
The U.S. debut solo album by Frou Frou vocalist Imogen Heap is a captivating record that fuses innovative electronic soundscapes with a strong female voice. If "Goodnight and Go" -- a lilting, pulsating, and hit-ready concoction -- and the alluring, synthesized pop of "Hide and Seek" are the most direct numbers, experimental numbers like the ethereal "Have You Got It in You?" plus the rhythm-fueled "Headlock" and "Loose Ends" suggest Heap has written and produced the finest electro/alt rock CD of 2005. By the time the eclectic, innovative "Closing In" arrives late in the cycle of Speak for Yourself, there's little denying it.~ John D. Luerssen, All Music Guide
What The Critics Say
There's no denying the sonic and lyrical punch that embodies much of I Megaphone, the debut release from classically trained pianist Imogen Heap. The influence of both Kate Bush, musically, and Patti Smith, attitudinally, come through over the course of the record. Heap kicks things off with the wonderful "Getting Scared." Over an electronic groove, she delivers the lyric, a swan to ugly duckling tome brought to adult fruition with a style reminiscent of Liz Phair. Despite working with various musicians and three producers, including Dave Stewart, Heap manages to deliver an effort that is surprisingly seamless. Highlights include the aggressive "Angry Angel," the pretty piano-driven "Candlelight," and the passionate, sensual "Come Here Boy." A compelling album chock-full of engaging melodies delivered in a memorable voice. ~ Tom Demalon, All Music Guide
