We use cookies to help you navigate efficiently and perform certain functions. You will find detailed information about all cookies under each consent category below.
The cookies that are categorized as "Necessary" are stored on your browser as they are essential for enabling the basic functionalities of the site. ...
Necessary cookies are required to enable the basic features of this site, such as providing secure log-in or adjusting your consent preferences. These cookies do not store any personally identifiable data.
Functional cookies help perform certain functionalities like sharing the content of the website on social media platforms, collecting feedback, and other third-party features.
Analytical cookies are used to understand how visitors interact with the website. These cookies help provide information on metrics such as the number of visitors, bounce rate, traffic source, etc.
Performance cookies are used to understand and analyze the key performance indexes of the website which helps in delivering a better user experience for the visitors.
Advertisement cookies are used to provide visitors with customized advertisements based on the pages you visited previously and to analyze the effectiveness of the ad campaigns.
The second album from York’s Elliot Minor is a complex mixture of rock and classical music, which are combine to form a rich and melodic sound. The band is currently towards the end of a UK tour to promote Solaris and have been receiving some good reviews for their live work. Lead singer Alex Davis has a tremendous vocal range and a voice which is powerful enough to stand out from the cacophony of instrumental backing, most of the time at least.
Fans of Elliot Minor’s debut album will doubtless enjoy their latest offering, but there is a somewhat formulaic feel to many of the tracks on the album. What at first seems new and interesting ultimately fails to satisfy as yet another catchy chorus backed with orchestral strings follows on from the last. The album does open strongly with The Dancer, which features some nice keyboard work before the guitars kick in, but the next few tracks could really be run together to form one long piece.
All Along bucks the trend, providing Davis with an opportunity to shine backed only by a piano, and the result is a very nice ballad. But then it’s back to catchy pop mixed with orchestral harmonies and I can’t shake the feeling that a band with such obvious musical talent should be producing more variety in their work.