Hollie Rogers makes a credible stab of delivering a powerhouse album to tempt turntables across the spectrum and signalling a future destined to turn heads. CRIMINAL HEART is a dozen-strong collection of largely self-written songs that fire off in a multitude of directions, not necessarily seemingly pre-ordained, but wholly reminiscent of an artist in tight control of the reins. Melodies and memorable hooks drive the record which pays its dues to a plethora of styles without being fully guided by any of them. Background information to the release reveals an artist taking total inspiration from within and continuing the self driven mode to make this a truly personal record.
Some may choose to cherry pick different moulded tracks with the likely candidate being 'The Coast Road', a strong dip into the folk well incorporating some cello into the sound alongside a mellower effort that doubles up on the album with a version containing segments in the Cornish language. Smart recommendations are adhered to in sprinting straight out of the blocks with a bold upfront opening number to set a tough pop rock tone for the album title. 'Criminal Heart' is a truly rousing start.
A shooting star track possessing a potential route to stardom is 'Youth' positioned right at the 'heart' of the record, with no 'criminal' pun intended. Americana attractions may tentatively lie within the work of Hollie Rogers, but the hook in this track as the chorus kicks in suggests a link to some of the big production female country pop tracks from the late 90s/early 2000s. Although in contrast, the mood towards the end of this pick advances into pure rock territory.
Immediately following up this pin up track sees the credits extended to the guest performance of Robben Ford and Jamie Lawson, who also get in on the co-writing action, on 'Love and Distance', which rolls out as a passionate pop ballad. By now the album is in full flow and 'Girl on a Mission' may well act as the album's strap line, if you read between the lines on some of the accompanying notes. Of course the invite to lock into the lyrics of Hollie Rogers is duly extended and her clear profound vocal style ensures they flourish in the midst of what is a quite heavily produced album.
While CRIMINAL HEART is far from a difficult listen, it does evolve as a sense of enjoyment from multiple plays. That way the depth emerges, which may be dismissed from some of the polished pop rock sentiments popping up from time to time. Americana in a very loose form was earlier mentioned and it was a showcase from that UK body in 2019 that first brought the music of Hollie Rogers to notice. From the small stages of the SummerTyne Festival verdicts of work-in-progress were concurred. A fair assessment at the time as we can now see the result from a further three years development and a full length record that can punch hard in a raft of scenarios.
What ultimately holds this record together is a strategic bolstering of sturdy tracks across a playlist that runs into the fifty-minute mark. Three songs in, 'Love' blossoms with a divine melody, while later in the final two slots the slide towards the exit bristles with the moving 'The Man You Had To Be' slipping into the apt closing piano-led ballad 'City of Colour'. Structure is a key part making this album a rewarding piece of work to engage with.
Hollie Rogers possesses the guile and confidence to stamp some authority of proceedings whichever direction CRIMINAL HEART heads in. Its full bodied presence allows for a voice to be heard and this is from an artist with something worthwhile to say.
