Ms Driscoll’s back with jazzy grooves, electronica and fiery vocals.

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Heard the story about the pop singer who quit the business at the height of their fame in the late 60s, and went on to release a sequence of artistically ambitious albums over the intervening decades?

While Scott Walker fits the description it applies also to Julie Driscoll. After her marriage to UK jazz musician (and sometime King Crimson collaborator) Keith Tippett, she embarked on an extraordinary musical reinvention. If your only frame of reference is This Wheel’s On Fire, her 1968 hit with Brian Auger’s Trinity, then Vestigium will be a shock to the system. Her beguiling cool and soulful fire remains intact from that era. This fourth collaboration with multi-instrumentalist Martin Archer features a seductive, exotic soundworld that both cossets and challenges Tippetts’ intricately layered vocals as they accrue and converge into startling harmonies. Over two discs, her words ricochet off sub-strata pulses, terse ambient shifts and urgent beats. Poetic cadences glower and fret amid luscious swarms of simmering brass, buzzing double bass and darting acerbic electric guitar. An intense, shapeshifting tour de force, it could well be her best since 1975’s classic Sunset Glow.

Sid Smith

Sid's feature articles and reviews have appeared in numerous publications including Prog, Classic Rock, Record Collector, Q, Mojo and Uncut. A full-time freelance writer with hundreds of sleevenotes and essays for both indie and major record labels to his credit, his book, In The Court Of King Crimson, an acclaimed biography of King Crimson, was substantially revised and expanded in 2019 to coincide with the band’s 50th Anniversary. Alongside appearances on radio and TV, he has lectured on jazz and progressive music in the UK and Europe.  

A resident of Whitley Bay in north-east England, he spends far too much time posting photographs of LPs he's listening to on Twitter and Facebook.