ALA.NI’s ACCA is an entrancing one-woman show

  • Simon Edwards

In this internet age that we live in, it’s hard to decipher what’s real and what’s fake. ALA.NI’s triumphant second album ACCA is here to confuse matters even further.

The human voice is often described as an instrument. ALA.NI takes this notion and crams fireworks down its throat as she delivers an album completely created a cappella: mimicking each bowed string and blown reed with her voice box alone. The accuracy with which these sounds are reproduced is incredible. ALA.NI is either a witch, goddess, or very talented singer and arranger – our guess is that she's a little pinch of each. ALA.NI’s creativity doesn’t stop there. She created the percussive elements of ACCA with whatever she could get her hands on – literally. Tennis balls, beer bottles and her own body were put in front of the mic to fuel her cacophony of sound.

The tracks on ACCA twist and turn between primal vocal stomps and old-style doo-wop, to heartbroken ballads and soulful barbershop ditties. It’s a dizzying merry-go-round of sound that blends modern pop with dusty cabaret gems. Growing up as a dancer has obviously impacted ALA.NI’s personality greatly – her knack for drama and theatrics plays out through every song. Her time-travelling style has caught the eyes and ears of Iggy Pop and Lakeith Stanfield, with both showing up to share their distinctive vocals on ACCA.

ACCA could quite easily be played out on stage: it’s packed with humour, drama, anger and sadness, all brought together by ALA.NI’s artistic direction. ACCA is a one-woman show that will have you glued to your seat – your toilet break will just have to wait.

Read the full review over at The Line of Best Fit.