KT Tunstall Is Back With Quality (Like Me From Europe)

Five years ago, KT Tunstall was on top of the indie music world (despite the fact that she was on a major label, much like Cults today).

Her music was featured on the once-great indie hub that was the soundtrack to Grey’s Anatomy–her song “Miniature Disasters” was included in the post-Super Bowl episode (great TV start to finish). Other songs played on the show include one of Kevin’s favorites “Suddenly I See”, and her hit “Black Horse and the Cherry Tree”, which my dad fell in love with from a special on the old DirecTV Channel 101. (He liked her before she was cool.)

The live stuff was no slouch either. Tunstall used a looping pedal to build her sound up from nothing and make it rich all on her own. It was a novel trick at the time and one I certainly admired.

Tunstall’s debut album, Eye to the Telescope, soared with the help of her producer, a beat man known for working with Kanye West and other big hip-hop/rap artists, who helped round out Tunstall’s catchy acoustic melodies.

And then she relatively disappeared. Her second album, Drastic Fantastic, fizzled into nothingness, and “Black Horse” left the public consciousness. So when I saw that she had released a new album, three years after Fantastic, I was intrigued and had to listen to see if the magic of Telescope was back.

The song I heard was not the lead single, nor the second single. It wasn’t the most popular song either. I liked the title, so I clicked the preview.

Telescope, this was not. It was new, edgy, slick; it was as much 2010 as Telescope was 2006. It was just as good as Telescope, but in a completely different way. Sure, the slickness and attention to detail in the production were there, with the melodies and arrangements were catchy as ever, and the trademark witty lyricism Scotland native Tunstall seems to spin fresh in most of her songs, but the instrumentation was flipped completely, and the song was much lighter than such efforts as “Miniature Disasters” with a rougher edge.

It was “Come On, Get In”. Take a listen, and appreciate the surprise in the bridge only Tunstall could deliver on:

About Dylan Visvikis

Dylan Visvikis is a working screenwriter and director in Los Angeles. View all posts by Dylan Visvikis

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