It's fortunate that
Toby Lightman
's vocals are so strong, since it's all that she can do to be heard over the
electronic
burble of her debut LP,
Little Things
(
Lava/Atlantic
).
Peter Zizzo
's production is furiously contemporary, with programmed percussion, intermittent string sections, shrill electric guitar, and layered vocal collages (of both
Lightman
's own voice and supporting harmonies) often choking the subtle acoustic chords that run throughout the record. About the only thing missing from the shallow bag of studio tricks is "Robo Toby," the processed vocal effect made infamous by
the Matrix
. Luckily, the young singer really does have a huge voice. Comparisons to
Nelly Furtado
and
Lauryn Hill
are valid;
's phrasing is perfect and her singing's throaty and sassy, even if her lyrics are the usual mix of aw snap empowerment, romantic woe, and dear diary soul-searching. She's mature and confident over the light
contemporary R&B
of
"Leave It Inside"
-- is that a
Mary J. Blige
influence? -- and the processed poptronica of
"The River"
gives her some strong material as well. But
's vitality really shines through in
"Everyday,"
which finally, mercifully strips away the accompanying instrumentation to a simple and refreshing acoustic guitar line. The song suggests what
might've sounded like before her tunes were shoehorned into the blatant and unimaginative MOR arrangements that clutter
. They have
pop
hooks, sure, and the busy, ingratiating
"Devils and Angels"
or
"Frightened"
's tasteful
Dido-isms
should appeal to casual listeners content with a pretty melody and a comfortably non-threatening smattering of not quite here, not quite there instrumentation. But
' strict adherence to the now sound -- as in what is destined to be so yesterday -- doesn't give
a fair chance at building an identity. ~ Johnny Loftus