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Now and then, an album comes along that is so fresh, its like a huge gust of fresh air in your face. It blows away the cobwebs and leaves you feeling refreshed and invigorated. In The Seams is one of those albums. Emotion and atmosphere spill over every lavishly and immaculately produced track. Any pomp and circumstance has been shaved from the production resulting in a seamless and honest creation, where upon the focus is placed directly upon the emotion of the songs.

Saint Saviour - or Becky Jones as she as known on a day-to-day basis - has a voice that is able to effortlessly reflect a vibrant pallet of emotions. In the past, she has been better known for her involvement with Groove Armada and much more electronically-based productions. But her second solo effort, In The Seams, sees her vocal talent elevate itself to a new terrain. Her vocals throughout are up-front and personal, like she's whispering secrets straight into your ears, an effect which is amplified by the first confessional lines of the whole album when Jones utters the words "I've made considerable mistakes/ Tried to be / Someone else." It marks the tone of this body of work which is at once self-reflective and self-conscious as well as delicate and dazzling.

It is as though Jones has been working up to this album, as she dusts away the additives that were present in her debut and presents a collection of songs that work with a different and more formula. There's the soaring and heart-warming 'Let It Go', (and no, it isn't a cover of that big Disney tune from 'Frozen' that will be played 200 million times this Christmas) where Jones' voice is full of intricacies that flit around the higher notes and when teamed with the sweeping strings. There is a real cinematic feel to it that warms the soul and will make even the coldest of hearts flutter. Jones constantly brings back the focus to the story she is telling through her honest lyricism which is frilled with underlying melancholic tones.

The album is a work of understated beauty that is as delicate as lace, and has been beautifully crafted with complex string arrangements and alternating instrumental structures. Bill Ryder Jones, formerly of The Coral, must also be applauded on his immaculate production on the album and how he has made the creative partnership come together. The thought that has been placed into how these songs should evolve is plain to see. From 'Bang' where the careless jazz piano chords bloom and flower into the warming chorus or the haunting and 'I Remember' that intrigues with its mysterious beauty. Songs such as 'Nobody Dies' and 'Craster' enhance the instant familiarity that the album possesses and act as a compelling reminder of Jones' skill as a songwriter.

In The Seams is an album that is painted in Autumnal colours and feels at once like a gust of winter wind as it does like a warming fire in the colder months. There is a certain comfort to be found in the folds of its delicacy that brings you in and encompasses the senses. Drawn together by the picturesque lullaby 'St Malo', Jones' brings everything to a close with a final hit of understated prettiness. Yet, the abruptness of the final line "for the nightingale is dead" haunts and rings on. In many ways, the prettiness of In The Seams makes it seem deceptively simple, but once you start scraping the outward appearance, there are many cleverly thought out layers that begin to unravel. It's a wholesome piece of work that just keeps on giving.

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