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Sometimes a record comes along that slaps you so fucking hard in the face you'd have to be dead not to feel something for it. Even if you hated it, it has something that stalks your in mind at every distracted moment. Perhaps it's a turn of phrase, a juddering bounce in the rhythm, or a melody that longs to be finished and sang out loud. 'Move Systems' is undoubtedly one of those songs.

It's a tired cliché to say an artist weaves together influences to 'make their own sound' but on 'Move Systems', the swaggering first single lifted from the debut album by Georgia, she did just that. It's got clattering beats that would makes her hero Missy Elliot weep with joy, thundering synths that could coax Fever Ray out of retirement, and a London twang that hasn't sounded cool since Jamie T's first album ("I went to meet Sheeelia/she was a deeealer"). Here's the thing: Barnes is unashamedly a musical magpie but out of all the shiny things she's collected she's made one of the most exciting and fresh British débuts you'll hear all year.

The multi-instrumentalist and producer's keen ear can be found all over this album, from the Qawwali sample on 'Kombine' to the baille funk inspiration for 'Move Systems' (it's worth noting that she wrote, performed and produced the entire album herself). It's perhaps not surprising given her musical education so far - she attended Brit School and then went on to study Ethnomusicology at SOAS, focusing on West African music for a time. She's also found time to be a session musician for innovative musicians like Kwes, Michachu and Kate Tempest too.

Given this rich pool of influences, what's satisfying is how carefully considered this album is. Far from being a smash-n-grab into Barnes' record collection, a lot of room has been made for subtlety and 'pure' pop writing. If you took a look at the individual parts from 'Be Ache', for example, there's a lot going on; twitching 8-bit synth sounds buckle against spluttering hi-hats for large swaths of the song, but it has a modest, melancholic melody that pulls through the strongest. It's a trick that's deployed across a lot of the record, 'Hold It', 'Digits' and 'GMTL' all pack a punch on the production (grime, hip-hop and techno are all touchstones) without ever laying a scratch on their melodic sanctity. It's works every time, from the first to the twentieth listen, because the songs reveal something new each time. It never tires, if anything, it gets better.

A lot of the album trades in love songs, almost entirely successfully except 'Heart Wrecking Animal', which feels a bit wet in comparison to the rest of the album. 'Tell Me About It' is a notable exception in that it documents Barnes' parents divorce (her father is Neil Barnes from Leftfield). It's main refrain, "Ooh, I love you too much, Ooh, and I hate you too much," isn't exactly going to win any poetry prizes on paper but when you hear its delivery; a mournful, understated sincerity, it has the capacity to completely overwhelm.

Georgia is not only an x-ray of Barnes' emotional core but also a snapshot of the divergent ways in which music in London (not exclusively, but more commonly) is embracing lots of genres and sounds and throwing them together with complete abandon. It's like she's bottled up a bit of London's muggy air and placed a love note inside and thrown it in the Thames. Hopefully people will get the message.

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