First Love

~ Release group by Emmy the Great

Album

ReleaseFormatTracksCountry/DateLabelCatalog#Barcode
Official
First LoveCD13
  • GB2009-02-09
Close HarbourCHO307CD5037300757582
First LoveCD17
  • GB2009-02-09
Close HarbourCH0307CDX5037300761398
First LoveVinyl13
  • GB2009-02-09
Close Harbour
First Love2×CD13 + 6
  • GB2009-02-09
Close Harbour[none]
First LoveCD17
  • GB2009-09-01
Close HarbourLOVECD61X4897028490359

Relationships

Wikipedia:en: First Love (Emmy the Great album) [info]
Discogs:https://www.discogs.com/master/394422 [info]
lyrics page:http://lyrics.wikia.com/wiki/Emmy_The_Great:First_Love_(2009) [info]
reviews:https://www.bbc.co.uk/music/reviews/8fhj [info]
Wikidata:Q5453223 [info]

CritiqueBrainz Reviews

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Most Recent

As vitriol-attracting stage names go, Emmy The Great is up there with the worst. Perhaps even more troublesome is the hype that's gathered around Emma-Lee Moss in the four years she's been working her way up from the indie underground. Lucky then, that her debut album is worth the wait.

The London-based singer-songwriter falls into the already crowded bracket of quirky, folky types interpreting the contents of their hearts with acoustic guitars, pianos and various twinkly extras. But First Love is a deceptive collection; while Emmy's wavering, girlish vocals give the impression of a lightweight tone, her lyrics are unexpectedly heavy.

Take 24. Ostensibly a drawn-out moan about a boyfriend who watches too much Jack Bauer, the track blossoms into an epic existential crisis, lamenting, ''24 for every year that I have slipped day by day into the neck of the abyss''.

Things shift stylistically too – moving from the sparse contemplation of Museum Island to fiddle-tinged Celtic folk on Dylan and We Are Safe. A foray into 60s-style sugar-pop on single We Almost Had A Baby is less convincing, and the overblown choral work of Easter Parade outstays its welcome long before the three and a half minutes are up.

The strongest indication of Emmy's greatness comes in the title track; an intricate, winding work of near-brilliance, made all the more powerful by its reworking of what the singer herself attributes in the song as ''Hallelujah, the original Leonard Cohen version''. It's not quite a flawless debut, but a sign that great things are to be expected.