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Folk - Released February 9, 2018 | Alela Diane

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In 2007, The Pirates's Gospel wrote its drugged-up folk onto the heart of gospel. Alela Diane brought her staggering voice to this first album. It would be a hit with fans of Cat Power and Karen Dalton… A decade later, the Californian set up in Portland, setting up in a house in the middle of the woods, surely a kind of re-fuelling after the birth of her daughter two years earlier… There, the songwriter set aside her acoustic guitar for a grand piano on which she created the songs on Cusp, the fifth album from a woman who had decided to draw up a balance sheet which was as much personal as it was artistic. Her relationship to femininity but also her eye for maternity (on Song For Sandy, Alela Diane pays homage to Sandy Denny, the goddess of 60s British Folk at the core of Fairport Convention who died at just 31 shortly after becoming a mother) or for her contemporaries (Emigré on the migrant crisis) gives this record a literary density. Musically, her standard melodic sensibility and her stripped-down approach to folk are blended into an unusually-sophisticated instrumentation. It evokes Carole King, Joni Mitchell and the great names of the Laurel Canyon stage. These charismatic influences in no sense overshadow the originality of Alela Diane, who is more than ever fully in command of her art. © MD/Qobuz
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Pop - Released April 9, 2021 | AllPoints

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Is it a kind of provocation to release a live album while music lovers have been deprived of concerts since March 2020? No: it's more of a gift. First of all, this album by the folk singer Alela Diane is not a real live album, played on stage with an audience clapping at the end of the songs; it's a live recording made in the studio (the Map Room), recorded in Portland while Alela Diane was returning from her 2018 European tour. It's recording to go back over the sensations and experience of the tour, heart and head full of memories. The tour probably went very well, thankfully. With her accompanists (Heather Woods Broderick on cello and Mirabay Peart on violin), she plays her songs with great grace and precision. She plays guitar or piano, and her friends also do vocals and whistle.This very sober arrangement gives rise to rare songs that are very fine, full of nuance, well crafted and seemlingly solid and unbreakable all at once. They're like trees, with roots, a trunk, branches shooting up vertiginously and leaves that see nothing but sky. Since her debut album, the classic The Pirate's Gospel, Alela Diane has become a master of her art, creating recognisable vocal harmonies and unique atmospheres. Here is a singer who is both a shaman and a fine weaver, and who is still gaining in depth with this magnificent album. © Stéphane Deschamps/Qobuz
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Folk - Released October 26, 2018 | AllPoints

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Pop - Released June 16, 2014 | Believe Recordings - Rusted Blue Records

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Alternative & Indie - Released April 4, 2011 | Rough Trade

After releasing a pair of hushed, intimate folk records, Alela Diane beefs up her sound with Alela Diane & the Wild Divine, an album that owes as much credit to Diane’s newly expanded backing band as the songwriter herself. These ten songs paint a familiar pastoral picture -- there’s much talk of horses, birds, highways, and open landscapes -- but they do so with a wider brush, coloring Diane’s once-stark music with keyboards, light percussion, and electric guitar. She’s a vintage California girl, with a voice that’s steeped in Laurel Canyon twang and lyrics that split the difference between flower child optimism and poetry grad cynicism. Backed by a solid country-rock band (including two guitarists who claim co-writing credits on more than half the songs), her new sound is perhaps more indebted to Nashville than the West Coast’s folk scene, but it sounds its best in the neutral territory between both camps, neither subscribing to nor rebelling against any single genre. In the weeks leading up to this album’s release, press outlets tended to focus on Diane’s new “pop-influenced sound.” The Wild Divine isn’t pop, though, and Diane’s willingness to reach beyond her freak-folk bedrock bodes well for a long career. “At the end of the day,” she croons on the album’s final track, “the song that I sing is the same.” Right on. © Andrew Leahey /TiVo
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Folk - Released February 16, 2009 | Names records ltd

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Alternative & Indie - Released July 3, 2015 | Alela Diane and Ryan Francesconi under exclusive license to Believe Recordings

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Rock - Released October 5, 2010 | Names records ltd

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Pop - Released February 26, 2021 | AllPoints

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Pop - Released January 12, 2018 | Alela Diane

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Alternative & Indie - Released December 1, 2017 | Alela Diane

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Pop - Released October 12, 2018 | AllPoints

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Alternative & Indie - Released September 11, 2015 | Alela Diane and Ryan Francesconi under exclusive license to Believe Recordings

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Alternative & Indie - Released December 16, 2013 | Believe Recordings - Rusted Blue Records