Label: Hybrid Music

Producer: various composers

Release Date: 2004

She Said Ahhh is an album consisting of ten tracks that Lisa has sung and written the lyrics for. That’s not it, all ten of those tracks have had the additional input of eight different artists and groups. These musical composers have combined their talents with that of Lisa’s to help in the creation of a wonderfully sensual atmosphere of seduction. 

The first song on this album is Colour Blind. With the unique stylings of Lisa’s vocal work one can plainly hear why so many artists wanted to work with her on this album. The musical accompaniment from Emil Anderberg to Lisa’s lyrics is well suited. It adds the perfect accent to this linguistical flow of a sort of divine nature.     

Breathe For You is the second of the albums numerical order. It begins with an industrial set design that morphs into the showcase of a sexy Lisa on her hands and knees swaying from side to side in front of the man she whishes to seduce. With Lisa’s haunting and provocative vocals and the music of blood on satan’s concubine (Flesh Eating Foundation) this track is sure to arouse the un-arousable. 

She Said Ahhh... Is yet another example of how it seems that Lisa has the power to make love to any listeners mind with the sound of her voice and the rhythm of her vocal flow. This track has a very sexually enticing feel to it, and the mysticism of Ed Drury’s musical accompaniment doesn’t help relieve the need for a cold shower... it just perpetuates it.

Turn Me On is an upbeat dance track with all of its classic components. The beginning of the message that is being sent out, the statement of what is wanted, and the slower section of an ambient build up that soon thrives through to its end. Its excellent composition taken to another level of existence by the likes of one Marty Ball and flourished with Lisa’s transforming vocals.

A Sweet Desire is something that I’m sure we have all had at one point or another to varying degrees. Sometimes that desire is attainable and sometimes it’s forbidden. William Giggard and Lisa are artists whose combined styling’s are reminiscent of a cocktail mix between Portishead, Gorillaz, and an inflection of operatic delightfulness that kisses an angels forehead while taunting its innocence at the same time.          

Neil Alderson is the reason why Angels Breathe strokes the very fibers of what holds us all together. His fingers caress the essence of what brings beauty to the eye of a child gazing into the blue abyssal sky for the first time. I love the way it begins to sound like a sketchy recording recovered from a 1930’s archive when the harmonious inflections of Lisa’s vocal contribution thrust the track into its full throttled excellence.      

Dave Meredith’s Fall from Grace brings out a colourful rainforest of a flower-like quality to the albums already mystical tendencies. This blend of percussional vibrancy really forges an intense bond with Lisa’s vocals as well as her lyrical abilities. The syntactical flow of this tracks musical pathway paves a road that furthers this albums direction toward excellence.       

Story of You and Me is the second of William Giggard’s very uniquely stylistic approach to a wondrous level musicianship. With the lovely Lisa’s vocals running child-like hula-hoop rings around the track it seems to travels through a tubular tunnel of sinisterly echoed laughter while floating out into a psychedelic cloud of colour.       

Marty Ball’s Pride is trancelike magnificence forged from the very depths of what makes people compose in the first place. While Scream exhibits the finer more dance-like qualities of the most fun a person could have in a crowd of friendly outgoing people whose only objective is to not collapse from the exhaustion of having such a good time moving and sweating to the beat of good music. Lisa contributes a very coveted part of herself to these and all of the tracks on the album that stains the raw but fantastic quality of a just sanded oak  

The remix of Flesh Eating Foundation’s Breathe For You certainly does benefit from the addition of a sped up ‘orchestrically’ electronic take on its already tremendous original.    

This second approach to Marty Ball’s Pride seasons the original with a spicy ambience flavoured decadence that luster’s a shine that could blind a man without sight. 

What an experience this album must have been for everyone involved in its entirety. To have had the opportunity to conglomerate such numerous talents should be something that is cherished and looked back upon as a turning point in the wonders of what modern technology has allowed us all to benefit from in so many different ways. It’s a momentous album that I have enjoyed having had the pleasure to share my thoughts on. Lisa… something there is in the bridge between sound and sensuality.

 

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IOM Magazine

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