Charlene Soraia is that girl who sings that song from that advert about tea. From that description you should all know who I'm talking about. The song in question is the soporific pop-rock ballad 'Where ever you will go' by The Calling (a handsome version of Nickleback), and it’s a song which has probably been on all of those frequent saddening montage scenes which appear on every American TV drama series ever created. Despite that, iTunes’ users love Soraia's version so much it went into the top ten singles chart and got plastered over daytime radio playlists around the country.

This leads us to Moonchild, her debut album released on Peacefrog Records, which contains 'Where ever you will go' as a bonus track (for obvious reasons). If you’re expecting a menu of tracks featuring a repetitive recipe of mellow acoustic guitar and the occasional un-sexy hooting of jazzy brass, smothered in layers of beige-pop like production, then this is a perfect dish. However, if you were unable to swallow 'the song advertising tea' then there is no chance you'll be able to digest Moonchild.

With the title of the album being a nod to her love for David Bowie and experimental 60's psychedelia, I was expecting some of that to stand out on this album. I was wrong. There is no sign of that at all, which is a shame because the expectation of a young acoustic-pop artist delving into psychedelia is something that could have been an exciting take on a stagnant genre. Instead, it’s a young acoustic-pop artist delving more into acoustic-pop, something that gets recycled over and over and over again until you get the feeling that every one of these artist plays the exact same guitar chords.

Don't get me wrong, Soraia has a wonderful voice and showcases it fantastically here. Album opener 'When we were five' starts with a piercing high note, at first sounding like a kettle boiling (pun intended). This is repeated again at the end of the sweetest song on the album, 'Daffodils,' and also on 'Meadow Child,’ highlighting the vocal range that Soraia is capable of.

'Lightyears' is a track that sounds like it could be a future single and is also one of the most upbeat songs on the album instrumentally; it achieves this with the help of simple drum playing and some cheerful strings. However it’s Soraia's vocals that bring the song down (they can sometimes feel quite emotionless in places). Lines like "I love you, I hate you, I miss you, you break me, why don't you leave me alone?" are sang with such dullness that you just wish she attacked the lyrics with more passion in her voice.

There's no doubt Charlene Soraia has talent, you can hear it in her voice and in her strumming, however you never really hear that true potential in Moonchild. It may be that she's still figuring out her musical compass and she's not sure which avenue to go down or maybe she's playing it far too safe. Either way Moonchild is a middle of the road record that never seems daring enough to veer off in any other direction.