Music isn’t really short of sensationally soulfully-voiced songstresses, is it? We’ve pretty much got all the divas we need, and this must be pretty irritating if you happen to be a sensationally soulful diva yourself. There must be 100s of great singers who’s dreams are dashed as they’re told to join the X-Factor queue or go back to stacking shelves. Brooklynite Doe Paoro is one such diva, gifted with a strong, soulful voice, but seemingly, she has cleverly avoided both these unattractive options, by finding herself a USP.

Heading into the Himalayas to study Tibetan opera and meditate for 6 months before putting her aforementioned voice to use on an album may not be the most obvious way of achieving this, but then, if it was, it would hardly be a ‘Unique’ Selling Point.

After returning to New York and locking herself in a cabin - Bon Iver style-ee, or so we’re told - Paoro emerged with Slow To Love, an often powerful, sometimes ethereally-weird, and enthralling debut of what she calls ‘ghost-soul’.

Throughout the short, half-hour run time, Paoro’s diva vocals are firmly the focus, kept separate from the likes of Lana Del Rey by turning at times to witchy hysteria before dropping back to smooth shimmer, and accompanied by a mist of ever changing, echo drenched guitars, violins, organs and pulsing beats. It certainly grabs the attention.

There are, however, moments on Slow To Love which wouldn’t feel much out of place on the next Adele record. The swelling pop-soul moments of single ‘Can’t Leave You’ lack power, despite the strength of voice, as Paoro emotes with "despite all the pain, I can't leave you, yeah/all twisted up in your vicious net." Dramatic strings swell in the second half of the song, after sparse piano and delicate violins lead us into a territory mostly free of the wraithlike wails and effects-altered weirdness and leaves the track feeling much less engaging than much of the album. But it gets much more interesting. The short two minutes of ‘Follow You Til’ feel as if the soul-pop singer has been driven mad by the heart-ache she’s been singing to us in the previous six tracks, and has taken a drive into some dark lagoon with an acoustic guitar, dragging us with her into the depths, appealing to us with her pain through monstrously beautiful wails and incoherent mumbles. It’s almost cinematic, certainly visceral.

Unfortunately, though, once the ears become accustomed to the high, effect-ridden layers of vocal play, there’s a good few songs in the centre of the album which fail to leave much of an impression at all. Not so with second single ‘Born Whole’, however, which goes a long way to making up for this short falling of impact, as does ‘Body Games’, with a pounding beat and Paoro at her most assessable and echo enhanced.

Essentially then, Slow To Love is an album of disparities. Moments of brilliance, aside songs which slip from the memory instantly, and a voice which jumps from smoulderingly smooth to incomparably strange in seconds. In the end the feeling we’re left with is that the album is just not long enough to get a proper feel for, and not developed enough to feel like a finished entity. But then, this is a first effort, after all, and there is definitely a sense that if Paoro was given time to decide in which direction she really wants to go, she could come out with something really very special.