Fire Records
Dutch singer/songwriter Annelotte De Graaf, better known as Amber Arcades, returns with her third LP, Barefoot on Diamond Road. The album represents a sonic evolution for De Graff, distancing herself from her initial guitar-driven sound, providing an atmospheric, sometimes confusing, but ultimately rewarding experience.
Her debut LP, 2018’s European Heartbreak, had started her gradual move away from the guitar-driven sound of her debut, Fading Lines. European Heartbreak was a dreamy slice of indie pop, full of gentle melodies and sweeping strings. Barefoot on Diamond Road sees her create an even thicker atmosphere, dialling up the experimentation to another level. While European Heartbreak was more conceptual, dealing with the breakdown of individual and political systems, Barefoot on Diamond Road is more introspective, written: “very much in the moment”.
The sound may be more expansive, but lyrically De Graaf is looking more within, with the album more reflective of her own experiences. Like many artists, COVID-enforced isolation provided her with a period of reflection while simultaneously dealing with moving to a new city, Amsterdam. The record sees De Graaf accepting different sides of herself and reflects her growing confidence as an artist. It’s a deeply textured affair, drifting between light and heavy, and occasionally, the lyrics get slightly lost in the noise. This is no sleight on De Graaf, who has an excellent voice but is more reflective of the atmospheric nature of the album. Regardless, it’s an engaging and constantly surprising listen, a testament to her willingness to take risks.
The opening track, ‘Diamond Road’, provides a suitably sparkling, atmospheric beginning, featuring gorgeously plucked strings and shimmering synths. ‘Odd to Even’ is filled with vibrant, upbeat strings, creating a bold, symphonic sound as De Graaf encapsulates the excitement of new love. It’s light and playful as she sings, “Take me in your arms/Throw me off the stage”. ‘Contain’ is particularly ethereal, De Graaf’s voice a dreamy, almost seductive whisper. Her floaty voice is underpinned by these distorted, crackly synth waves, creating a sense of conflict as she sings, “Baby I can’t contain myself”. ‘Water Stains’ is a slow burner; the percussion sounds far off before it eventually breaks through on the uplifting chorus.
‘Life Is Coming Home’ is another spacious effort; De Graaf’s monochrome delivery feels particularly dense while these disconcerting synths hover in the background. There’s a slightly creepy air to the song’s repetitive mantra, “In the fields and in the forests/Life is coming home”. ‘Through’ is a slow burner which eventually builds to a rousing conclusion, De Graaf’s voice evolving from feather-light to punchingly-powerful. ‘True Love’ could have been one of the album’s highlights; the distant beats, brooding bass, and shuffling percussion have echoes of Portishead, while De Graaf brings a sense of intimacy. The track’s angelic chorus sadly kind of kills the excellent, dark atmosphere.
‘Just Like Me’ is a definite high point, inspired by her move to Amsterdam and the contrasting sense of togetherness and anonymity she felt whilst settling in. De Graaf’s voice is at its melodic best, slicing through skittish synth waves. We also get a brief, distorted guitar solo. The slow building ‘I’m Not There’ follows, where again the drums lurk in the background before gradually breaking through. De Graaf sounds at her most vulnerable, her voice becoming lost in the squall of the fuzzy guitars which flood the second half of the track. ‘You Could Never Let Me Down’ is a gentle piano ballad that provides a slow, mournful conclusion.
Barefoot on Diamond Road is expansive if occasionally muddled, with De Graaf’s meaning sometimes being diluted amongst the noise. However, it’s constantly engaging sonically, while De Graaf’s vocal performance is superb, with impressive emotional dexterity. The rhythms and melodies may be a little softer, but De Graaf’s voice brings a lot of heart to the record. It’s the sound of an artist growing in confidence, and if she maintains this upward trajectory (and irons out some minor issues), then bright things lay ahead.