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Helene: Marking Time (Global Warming WARMCD 23)
Well, as fine an outfit as they were, we never thought we'd be typing the words "Barefoot Contessa offshoot", but there you go. Still, we've got no complaints about hearing the dulcet tones of Helene Dineen again, since her Hope Sandoval-meets-Maria McKee croon is the warm beast it always was, and there's an insistent and distinctly memorable clarity to this resurgence that takes a cheeringly concave bite out of both alt.country and, dare we say, a little R.E.M. When they were good, obviously. More of a great leap forward than its title would suggest, then.

Iain Moffat (Playlouder, March 2005)




Helene is actually Helene Dineen, formerly of cult band Barefoot Contessa, and owner of a remarkably expressive voice that is put to good use on all three tracks on this single. She's joined by her former bandmate Graham Gargiulo but it's clear that Marking Time is all about Dineen's voice.

The title track swoops in and glides along in a manner reminiscent of Calexico, especially their work last year with Nancy Sinatra. Dineen's vocal is sensual, smokey and perfectly suited here. The other tracks are more laid back, with "Your Laughter" being a dead-ringer for Mazzy Star and the six minute "Big Talker" an epic, lush masterpiece.

Barefoot Contessa may never have matched their critical acclaim with commercial success, but it's good to hear Helene Dineen still sounding as good as ever. Second time round, she may just crack it.

John Murphy (Music OHM, March 2005)




Helene is a London-based band that arose out of Barefoot Contessa, who between 1995 and 2001 had released four acclaimed albums and were championed by John Peel. Vocalist Helene Dineen had along with Graham Gargiulo formed the nucleus of the band, and in 2002 they decided to rename as simply Helene in order to showcase more directly Helene's expressive yet cool voice. Following on from 2003's Postcard album (which curiously enough I've yet to hear), this three-track single only makes me want to hear more! The band's stall is set out neatly and concisely on the title track, a smouldering, enticing combination of Nico and Hope Sandoval set to restrained instrumentation that recalls both the Cocteau Twins and Nick Cave. The third cut here, the six–minute "Big Talker", simmers and stretches out in an eerie and compelling manner.

David Kidman (Net Rhythms, March 2005)




The support of the reactionary philosopher of the obvious, Alain de Botton, a man who attempts to give depth to the mundane is enough to warn me off any record. As it is, the lead track of this single, is a strange mixture of 4AD and the swirling drunken pop of the Walkabouts at their most orchestral and approachable. The patient walk-before-you-can-run build up of "Your Laughter" is pure Velvets, and unfortunately by the time "Big Talker" comes around, the slightly mannered vocals of Helene become unerringly like the monotony of de Botton’s writing - you know exactly what to expect well before the end. 5/10

David Cowling (Americana-UK, February 2005)




Helene: Postcard (Global Warming GLOBCD 12)
Christmas-time Is Music-time... this year's best rock and classical CDs

If only Helene were better known, there wouldn't be a single records-of-the-year list in which this album failed to appear - seriously, it's that unimpeachably brilliant. Apart from the fact that Helene's sweet, sultry, country-tinged vocals must rank among the loveliest in Britain, every song is achingly seductive, the melodies are all fantastically strong, the lyrics intelligent and the delivery immaculate. Imagine a less abrasive PJ Harvey singing Lou Reed with arrangements by the Tindersticks and - well, don't imagine, actually: just buy it.

James Dellingpole (Sunday Telegraph, 14th December 2003)




Word Of Mouth - people we like and the things they like: Alain de Botton, The Alan Hansen Of Philosophy

At the moment my favourite record is Postcard by Helene, who is a singer-songwriter in the Portishead - Morcheeba - Sinead O'Connor area. She's very good, and it's a beautiful record - I do love the female voice, especially with a bit of Velvet Underground and gutsiness in there.

Alain de Botton (Word, September 2003)




There are obvious traces of both Hope Sandoval and Kristin Hersh on this debut outing from London's Helene, but given her past in indie-pastoralists Barefoot Contessa (with her long-term collaborator, guitarist Graham Gargiulo, who adds more spice here) and the guiding hand of Magoo's Owen Turner, the results are predictably unpredictable. Though ostensibly a singer-songwriter, Helene deftly evades the boundaries of the genre through the simple expedient of exploring new territories, often finding the perfect balance between soulful self-expression and wilfully sparse ennui. She tackles everything with equal passion and vigour, and though indie-rock is a suit that generally fits her less comfortably, "Murder Can Be Necessary" is an excursion into gothic indie that Nick Cave would have been proud to be involved with. Heartily recommended.

Michael Ornadet (Logo, Summer 2003)




Ex-Barefoot Contessa solo debut

Londoner Helene is as interested in the textures of her songs as their words, making this closer to the haunted soundscapes of The Walkabouts' work with Phill Brown (Talk Talk) than the acoustic singer-songwriter ghetto. Collaborating with Owen Turner of guitar mavericks Magoo, Helene's breathy voice sits on arrangements including violins, guitars and glockenspiels. Her lyrics, meanwhile, are daydreams of death, disenchantment and vengeance. If "Murder Can Be Necessary" is more petulant sneer than felt, fatal impulse, this is still impressive night music.

Nick Hasted (Uncut, July 2003)




Imagine if Portishead had toyed with bluesier themes than their smokey jazz inspired trip-hop? Then you may not be too far from the blueprint from which ex-Barefoot Contessa front woman Helene and her band have set themselves on their lazily warm debut.

Opener "Big Talker" is fairly indicative of the album as a whole: emotive, bluesy guitar thrusts that bring to mind Jimmy Page at his most chilled, while a 60s-style keyboard groove carries the remainder of the song on its pretty little way. And over it all the dusky vocals of Helene are both haunting and seductive in equal measures. It's an attractive sound. The only problem is that too much of Postcard sounds remarkably similar. The delightfully titled "Murder Can Be Necessary" begins to champ at the bit somewhat, and "Peanuts" is a delightful slice of summery pop, but the remainder follows an all too similar route to either achieve the necessary goals or enable total fulfilment from listening.

Jerry Ewing (Classic Rock, July 2003)




Recorded in the wilds of Norfolk, a fine advert for 'getting it together in the country.'

Helene's probably bored of the comparison already but hearing vocal phrases which begin with a curl of the lip and then tail off downwards, it's hard not to think of Hope Sandoval; in fact, the guitar arpeggios on "Drive Me Slow" immediately ring up Mazzy Star's "Blue Light". But for every nod towards that particular strand of post-Velvets' third album nachtmusik, there are as many equally good but more individual characteristics on this impressive solo debut.

Helene Dineen used to be in Barefoot Contessa and continues her songwriting partnership with guitarist Graham Gargiulo from that group. Magoo's Owen Turner produces and supplies keyboards, glockenspiel and icy Mellotron on the dramatic "Call" as a foil to Helene's bittersweet and finely poised voice. The songs are sparse, strong and haunting, although the rocked-up "Death Rattle" is rather four-square, and less successful as a result.

Mike Barnes (Mojo, June 2003)




Probably what I like best about this job are those rare moments when you discover something reasonably obscure but totally ace and you get the chance to help it become as big as it deserves to be. This deeply gorgeous album is one of those things. It's by an enigmatic (we don't even know her surname) singer/songwriter called Helene and if you like the idea of a cross between the Tindersticks, P J Harvey, Portishead and the softer side of the Velvet Underground I think you're going to adore her. She has a lovely voice (a bit less abrasive than P J's, with a very faint country twang) and her songs are all quite catchy and quite exquisitely, intelligently arranged. It sounds very American, though actually she and the band are from London. The opening track, "Big Talker", with its plaintive warbling Hammond organ, Nick Cave-like keyboards, slide guitars and swollen, sad, achingly lovely country melody is beyond magnificent. Really, you so must get this record.

James Delingpole (Sunday Telegraph, 25th May 2003)




Sombere kwaliteitspop.

[indiepop] Een sfeervol zwart-wit hoesje. Op de voorkant het devote gezicht van Helene. Ze oogt met haar geloken ogen als een chansonnière uit de jaren vijftig. Op de achterkant slentert Helene door een Londense straat. Ze was vroeger zangeres in Barefoot Contessa, Postcard is haar eerste soloalbum. In de twaalf songs wordt ze in een traditionele bandbezetting onder meer terzijde gestaan door Graham Gargiulo (ex-Barefoot Contessa). Hij schreef mee aan de songs, speelt gitaar en zingt in twee nummers. Postcard bevat prachtige muziek, donker gekleurd, soms meditatief en af en toe agressief. Portishead en de Velvet Underground zijn in de buurt, alhoewel Helene zelf Gillian Welch en Laura Nyro als invloeden noemt. Helene beschikt over een prachtige stem die wel wat weg heeft van die van Hope Sandoval. Postcard opent met Big Talker, dat direct de – donkere – toon zet: mooie gitaren, een klaaglijke Hammond en een somber gezongen I Have No Words To Say On This Slow And Useless Day. Ja, tekstueel bezien is Helene niet het zonnetje in huis gezien ook de titels van songs als Murder Can Be Necessary en Death Rattle. Het zoetige koortje in Postcard contrasteert prachtig met de dreigende slide klanken en de sombere tekst. Het in duet gezongen Peanuts, een aanstekelijke bubblegumachtige song, is het enige opgewekte lied. De resterende, stemmige songs zijn zonder uitzondering goed of zeer goed. Een pluim ook voor de goede instrumentatie, een indrukwekkend album.

Frits Barth (Heaven Popmagazine voor volwassenen, Belgium)




Sporadisch kom je een cd tegen waarvan je voelt dat ’ie anders is dan andere. Zo’n plaatje dat bezit van je neemt en je niet meer loslaat dus. Postcard van zangeres Helene Dineen is zo’n album. Erg veel is er niet bekend over deze zangeres. We weten alleen dat ze uit Londen komt en een verleden heeft met de band Barefoot Contessa. En dat ze tegenwoordig muziek maakt met gitarist Graham Gargiulo, met wie ze ook samen liedjes schrijft. Helenes stemgeluid is niet alledaags. Het doet heel erg denken aan P.J. Harvey, terwijl de muziek veel weg heeft van Nick Cave en Portishead. Ook komt de zachtere kant van de Velvet Underground een beetje in de buurt. Donkere songs met thema’s als dood en wraak klinken dreigend en duister. De songs zitten stuk voor stuk intelligent in elkaar. Vanaf de openingstrack Big Talker tot en met de afsluiter Downtime zit je bijna geobsedeerd te luisteren. Een zeer indrukwekkend solodebuut van Helene.

Anneke Ruys (Zinaanzij, July 2003, Holland)




Al een tijdje uit, maar de moeite waard om nog wat ruchtbaarheid aan te geven: 'Postcard' (Global Warming/Bertus) van de Engelse singer/songwriter Helene. Voluit heet ze Helene Dineen en geniet ze met gitarist Graham Gargiulo enige cult-bekendheid onder de naam Barefoot Contessa.

Met Postcard schaart Dineen zich, zonder dat dat nou zo de bedoeling is, in het rijtje Nico, PJ Harvey en, recentelijker, Cat Power. Hoewel het begrijpelijk is dat ze op haar eigen merites beoordeeld wil worden, is de verwijzing dienstbaar als kwaliteitsmerk. Postcards is een wat donker aangezet album dat uitblinkt in eigenzinnigheid.

Dineen heeft een diep stemgeluid dat voorkomt dat ze klinkt als een kindvrouwtje, iets dat veel van haar collega's van vrouwelijke in het singer/songwriterschap zo onverteerbaar maakt. En ze werpt zich met behulp van, onder meer, klokkenspel, blazers en orgel zonder voorbehoud op gewaagde melodieën zonder het liedje uit het oog te verliezen. Uitgezonderd een aantal tracks halverwege het album die wel erg VU-freakig klinken. Maar dat is een euvel dat je haar snel vergeeft.

(Planet Internet, Holland)




Helene Dineen maakte aan het eind van de jaren 90 deel uit van de tamelijk obscure Britse alt-country band Barefoot Contessa. Deze band maakte een aantal opvallende cd’s van uitstekende kwaliteit, maar werd helaas nauwelijks opgemerkt. Het solo debuut van Helene krijgt gelukkig wel veel aandacht. En terecht, want Postcard is een hele mooie en overtuigende cd geworden. Helene heeft een prachtige stem, die afwisselend aan Hope Sandoval, Beth Gibbons en P.J. Harvey doet denken. Ze werd onlangs nog een van Engeland’s beste zangeressen genoemd en dat is wat mij betreft niet overdreven. In muzikaal opzicht borduurt Helene voort op de muziek van Barefoot Contessa (de country- en blues-invloeden), maar ook bands als The Velvet Underground (het oog voor experiment) en The Walkabouts (de wat donkere soundscapes) hebben hun invloed gehad op de songs op Postcard. Helene klinkt op Postcard als Portishead die triphop heeft verruild voor blues en country of als Mazzy Star die het eens zonder geestverruimende middelen en in een wat hogere versnelling probeert. Postcard is een hele sfeervolle cd die heel veel mensen aan zal spreken en maar weinig mensen zal teleurstellen.

(Platomania, Holland)



Helene è una debuttante, ma Helene Dineen è un'artista di lungo corso. E sono la stessa persona. Con nome e cognome, la londinese Helene era stata a capo di una band che si chiamava Barefoot Contessa, più volte segnalata su queste pagine ma vissuta ed estintasi in una sostanziale invisibilità. Perduto nel marasma dei gruppi pop-wave britannici dei secondi anni '90, il gruppo non aveva in effetti mostrato doti particolarmente originali, pur avendo realizzato un pugno di album suggestivi e moderamente ispirati. Liberatasi dal fardello della band e portato con sé il solo Graham Gargiulo (certo che la gente ha proprio dei nomi strani), già chitarrista dei Barefoot Contessa, adesso Helene è pronta a scoprire un mazzo di carte tutto suo. C'è lei in prima persona, nuda e tormentata, nelle fosche spire di Postcard, e benché circondata da un buon numero di collaboratori (il suddetto Gargiulo, il chitarrista Ian Carter, il batterista James Corner e la bassista Annemarie Newman, oltre al produttore-polistrumentista Owen Turner, responsabile in proprio del progetto Magoo), tutte le storie sembrano appartenerle come confessioni private. È un buon disco, Postcard, a tratti finanche entusiasmante, ma forse troppo lungo (un'ora piena) e alterno, incerto se spingere sulle violente scariche elettriche di Murder Can Be Necessary, sulla leggerezza pop di Peanuts o sull'intimismo rarefatto della title-track, episodio tramite cui la chanteuse potrebbe essere iscritta al club delle morbose lolite presieduto da Hope Sandoval. Essendo un (nuovo) esordio, diciamo che Postcard è assai promettente, ma si attendono sviluppi più chiari e decisi.

Gianluca Testani (Il Mucchio, Italy)




Con una grafica che si riannoda senza troppi sofismi ai sixties - quella foto in basso e i titoli già strillati in alto sulla copertina, proprio come l'esordio recente dei Thrills - esordisce in solitaris Helene Dineen, già voce dei Barefoot Contessa (gruppo inglese purtroppo sconosciuto: autore di un noir pop e almeno di un buon disco nel '98, Blues For A Honey). Lo fa utilizzando il suo nome di battesimo e facendosi tuttavia spalleggiare dai compagni dei tempi che furono, in primis il chitarrista/compositore/paisà Graham Gargiulo. Si potrebbe supporte che la grafia non sia cambiata di molto rispetto alpassato, ma non è così. Vero è che i punti di riferimento rimangono da una parte la voce di Hope Sandoval (la somiglianza ha dell'incredibile in brani come Big Talker e Where Do You Go To When You Disappear) edall'altro il passo delicato e onirico dei Velvet Underground di Venus In Furs (la title-track), ma il suono è più rifinito e meno lo-fi rispetto a quello dei Barefoot Contessa. Più spigoloso in alcuni punti, diremmo contiguo a Polly Jean Harvey (Murder Can Be Necessary, Death Rattle). Un disco che non cambierà la vita di nessuno, ma contribuirà a migliorare (o rendere ancora più tormentata?) quella degli amanti del rock britannico più buio. Per costoro si tratta di un titolo quasi irrinunciabile: specie se si considera quel titolo, Postcard, così carico di ricordi pop.

Rossano Lo Mele (Rumore, Italy)




Sexy Helene! Rockettara in attesa di un bel bis

Helene è sexy. Ha una voce che si avvolge morbida sulle note di basso, s'infila docile tra gli accordi di chitarra, ogni tanto s'increspa un po' e diventa ancora più bella. E queste sono qualità rare, perché Helene è capace di un canto viscerale e profondo e si apprezza meglio quando la musica le gira attorno più lenta: come in Big Talker e Postcard, i due grandi pezzi con cui si apre il disco d'esordio della cantante londinese. Il primo è un blues-rock appassionato; il secondo, quel Postcard che dà il titolo all'album, conserva un'ispirazione blues, ma la componente rock si fa più robusta e prendono vigore tastiere e chitarra slide: una meraviglia delle atmosfere black e fumose, che ricorda un po' quegli inni ipnotici e circolari che si suonavano negli anni 70. Ancora ballate di qualità con Call e Brewster McCloud. Quando accade però che il ritmo acceleri, vedi Murder, la voce di Helene sembra andare in difficoltà o addirittura fuori giri, come nel non molto riuscito Peanuts, in cui la cantante si mette a duettare col chitarrista Graham Gargiulo su un'idea melodica un po' troppo semplice. Peccato, perché tolte queste rare cadute, il disco vale eccome, ed Helene si merita tutti i più illustri paragoni con le grandi profetesse del rock, da Patti Smith e P.J. Harvey. Intanto ci si gode questo disco sofisticato, aspettando di sentire ancora la voce sensuale di Helene, con una musica adeguata a scaldarla al punto giusto.

Enrico Barbieri (Vita, October 2003, Italy)




Beskrevet av Max Bell som en av de beste vokalistene på de Britiske øyer. En rik og personlig stemme med et hav av uttrykk. Delikat arrengementer med klokkespill, trompeter, delikat keyboard og mye mer som understreker og underbygger musikken. Sjelfult med momenter av Nancy & Lee, Portishead uten samples, eller bare The Missing Link mellom Mazzy Star, PJ Harvey og Velvet Underground.

Meget nydelige saker.

(Tuba, Week 22, Norway)




Postcard is available from Amazon, Tower and all good record stores.


For live reviews, see News.



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