ALBUM REVIEW: Delilah Bon – Delilah Bon

It may be the debut album for DELILAH BON but the artist behind her, Lauren Tate, already has a number of releases under her self-titled and HANDS OFF GRETEL monikers. Still, this particular facet of a highly talented and motivated person is a bit more raw – brat punk-influenced hip-hop, as she describes it herself – and visceral than some of her other releases, so it comes down to whether or not that previously shown ability to fully express herself comes through in an area that can be less forgiving than others.

BON has always been big on female empowerment, much to her credit in this segment of an industry that has historically been male dominated, with that theme being a continuous undercurrent throughout this release. Lyrics such as, “…touch my girls and they’ll be a fight” in album opener Freak Of The Week or “you got women in the kitchen, women buying shoes, we could start a revolution if you really want to” from mid-release track Chiquitita show both the alluded to punk spirit and solidarity, while her machine gun-like delivery hits each word home with sniper precision. In addition to the female empowerment aspect, there is a constant spirit of rebellion, standing up for others – especially those most at risk, such as women and trans people – and doing what is right in looking out for others where you possibly can.

While there is a consistent fuzzed-out bass through the album, Tate has never been someone to rest on her laurels and play it safe, and there are definitely other influences and sounds that creep in. Penultimate song War On Women is perhaps the best example of this, with vocal layering being used to craft something that would fit perfectly with the more mainstream 2000s era PINK, with the music also similarly sounding, showing Tate‘s song-writing ability at it’s finest. It actually stands at the highest contrast with the track immediately preceding it, Devil, which sounds more like a brooding MINDLESS SELF INDULGENCE track, with both industrial and electro-punk undertones. This placement actually also feels deliberate to accentuate different elements of the directions the DELILAH BON persona is looking to create within and works well in this aspect.

From a production point of view, everything feels natural and in its place. Nothing is unduly overcomplicated, leaving things as accessible as possible in an area where some of Tate‘s existing fan base may be a touch more reticent to tread. That this is self-produced, again an area where women are sadly undervalued and under-represented, is of even more testament to the array of skills that Tate has and to her drive to be DIY and fully present her musical vision untouched by any outside influence.

To summarise, this would stand well on its own if it was several albums into the career of the DELILAH BON persona, so for it to stand as a debut is the hallmark of a highly talented artist, whose creativity and ability seemingly knows few boundaries. Tate‘s ability to deliver succinct and comprehensible vocals in this manner, coupled with the passion and belief in the empowerment of women and fighting for those who have traditionally not been seen to be equal, demonstrates just how far she can go as an artist in a plethora of different styles. This release could finally be the one to propel Lauren Tate into the public eye and place her at the forefront of rising British talent across the musical world.

Rating: 9/10

Delilah Bon is set for release on May 21st via self-release.

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