AMG Review of Somewhere Left to Fall

Jason MacNeil
All Music Guide

This record has a definite jazz hue throughout it, courtesy of the sultry and whispering delivery of Teisha Helgerson. Her tone on the midtempo, adult contemporary style of "Wings" brings to mind a mix of Rosanne Cash and Natalie Merchant. The arrangement on the song is another strong asset, a fusion of country, folk, and jazz. "Marigolds" has a light pop radio-friendly flavor to it, with Helgerson never missing the mark from start to finish. Musically it could be stronger, especially with less piano and possibly more guitar or even mandolin. Fans of His Name Is Alive would find refuge in this number. Amelia never venture into strange territories despite using a myriad of instruments. "No Valentine" is a subtle Mexican-tinged tune but has something in common with R.E.M.'s "Bang and Blame." Unfortunately, "False Start" is a bit too busy with its electric and acoustic guitars and quirky keyboard touches. Never throwing away a lyric, "Make Believe" is as close the group will come to a waltz or dirge à la Cowboy Junkies. "What a mess a memory makes when you drag it around," is possibly the album's hidden gem lyrically. When the band moves into an uplifting mood, the result is quite appeasing. "Safe and Sound" has a slight acoustic uptempo sway to it, bringing to mind 10,000 Maniacs unplugged. "Come Clean" also falls into this blueprint, but leans more towards a harder drumbeat. "Stranded" as well as "Linger" contain an alt country angle while Helgerson shines with a powerful and captivating vocal. The sorrow and melancholy jazz texture to the album makes Amelia the distant Southern sober cousins of Beautiful South circa Blue Is the Colour.