With a style and air of bohemian romance about her, Bethia Beadman is a singer-songwriter who is constantly on the move. On her first two album, she explored psychedelia and tentative melody in a unique way – mastering experimentation to create two perfectly flawed records. Beadman has stories of studying Sanskrit at Cambridge, playing in the Vatican and being part of Courtney Love’s touring band, but it is very much her own personality shining through on her latest piece of work, Chinatown.
Now, with a more complete sound and accurate vision towards creating a true sonic representation of herself as a person, this record reflects her traits as a musician who sees things visually alongside the music. Every single track has a Lynchian effect, seemingly being built to support strong imagery, romance and potentially espionage. ‘Horses’ manages to trundle along with a gorgeous chorus sung in Beadman’s breathy tones layered with cautiously constructed string sections.
Chinatown is a record that seems to portray psychedelia in a more delicate and thoughtful way. With the title track, you can almost smell the incense and herbs that the name implies would be its supporting imagery.
As a third record, Beadman has produced a piece of art that seems to be an evolution to her previous work. Although she’s still swimming in the same pool, she’s managed to develop a new way of doing it and seems to be spot on with her direction. Essentially, there’s strong comparisons to be made with many film scores, and albums that have been constructed for visual reasons. Almost extending a move made by Daniel Luppi and Danger Mouse’s 2011 album, Rome, the record sounds like it’s been ripped out of a 1920s speakeasy.
A brilliant visual album with the right grace, professionalism and romanticism.
Chinatown is released on 23rd March via Rosélie Records.