Leona Naess is definitely a girl.
Her self-titled release reeks of femininity, but there is nothing wrong with that, because Naess does it well.
The opening track “Calling” sounds as though it has come to trounce on all the Vanessa Carltons out there. Naess sounds better than “1000 Miles” and most of the other songs attempting to make it on the soundtrack to the next Mandy Moore movie.
Naess sounds like the kind of music that ends up on a Dawson’s Creek episode. But a good listener knows her songs are more worthwhile than just background music for Katie Holmes’s endless tears.
The difference is her songs are sonically interesting.
Naess uses surprising musical breaks, strong instrumentation, and thick melodies to keep the listener engaged. It might have been thrown on the stereo for background music but Naess’s use of strings, guitars, pianos, and several unexpected instruments will draw the listener in.
Naess’s breezy sound will lull listeners into submission and lure them into her world of candles, flowers, wine and kisses.
The lyrics have a stream of consciousness feel. They sound almost childlike. Naess seems to use the lyrics exactly as they fall out of her mouth. Occasionally they sound like a twelve year old’s diary but most of the time it works, thanks in part to her melodic voice.
“Dues to Pay” uses her basic “a-a-b-b” rhyming style. Naess obviously paid attention in elementary school poetry lessons, though sometimes you wish she had advanced in her studies. The “sing-songy” lyrics work though thanks to the heavy guitar line of “Dues.”
“Christmas” uses a violin to sound like the pure, snowy holiday Naess compares to her love. The song is just alright until Naess surprises by throwing in an Indian inspired up tempo bridge.
Most of Naess’s songs use this formula. Much like a box of Cracker Jacks her songs are sticky sweet, with a special prize in the form of a dense musical break.
But Naess’s music is not just for bleeding heart poets or your little sister. It is fine for mass consumption in moderation.
B