Watershed is a fitting title indeed for this engaging and enjoyable full-length debut by English singer-songwriter Marsha Swanson. The album seems to represent a unique moment, a time when all Swanson's thoughts, emotions, observations and musical ideas, perhaps collected over many years, have coalesced into something very special. Delivered in an honest, unaffected and musical voice, Swanson's lyrics touch on a wide range of subject matter, looking at some fascinating aspects of life and relationships that many writers handle either awkwardly or not at all. Her way with melody is occasionally reminiscent of an English Carole King, with a hint of Kate Bush thrown in. Never coy, always grown-up, Swanson comes across as woman, not girl -- something that sets her apart from many of her contemporaries in a very positive way. But here's a big part of what makes this album great: Swanson has assembled a brilliant musical setting for her words and voice. A pulsating undercurrent of bass, drums and percussion powers many of the tracks, with sparkling guitars completing the tableau. At the end of the proverbial day, interesting and energetic music is at least as important as thoughtful lyrics in giving an album staying power. Watershed has both, in abundance.

What does a singer-songwriter write about once they have dealt with the preoccupations which are commonly the themes of pop songs – namely the search for love, its maintenance and its lament? Marsha Swanson demonstrates that this is a liberating opportunity: this allows one to focus on concerns that often manifest in the aforementioned preoccupations, but are left unexplored. Where other artists produce faux innovation in the guise of esoteric lyrics and general aloofness, Marsha chooses to use the power of an approach which is the polar opposite: communication. This tool is considered by many an artist to take away their ‘mystery’ and they erroneously fear that too much communication could relieve them of their talent. Marsha’s debut album attests otherwise. This is a finely-crafted independent release full of well-constructed songs with a ‘classic’ feel - the sound of a 21st Century Carole King (with a touch of John Martyn’s vocal phrasing) sharing her observations on reality with us, in the light of existential awareness. The tracks on this album resourcefully incorporate a wide-range of musical styles. The album is predominantly acoustic-driven alternative folk pop rock – most evident on ‘Cry’ and 'Breakdown'. There is a triple-bill of songs ideal for the summer: the upbeat potential hit ‘Hoovering the Sky’; the jazzy-funk vibe of ‘Weekend Best Friend’; and the syncopated ‘Ghost Song’. In between there is: the classic, pared-down piano/guitar vocal combinations of the advisory ‘Don’t Blame It on Love’ and ‘Losing Me’; the simple acoustic yearning of ‘Watercolours’; the left-field touches of the atmospheric observance that is ‘Johnny Can’t Read’; the urgency conveyed in ‘Brave Face’ is a mix of the panoramic U2 backing Carol King; and besides the cinematic setting of ‘Madame M’ (more of which, momentarily), there is even a nod in the direction of gospel on album-closer ‘Old Fun’. Our guide through this musical journey is Marsha’s vocal – full of character, yet possessed of clarity. Marsha’s voice is distinctively English – folk-tinged but not folk. Her style is unburdened by affectation or posturing, which allows her to directly communicate her reflective observations. Hers is a voice of compassionate reason. With a deft touch, Marsha sets logic and rationality to music without any loss of emotional expressiveness. Commonly, escapism is the motive within contemporary music – Marsha refreshingly prefers to directly address the issues she raises within each song and to share her thoughts with the listener. This is accomplished without adopting a tone that is prescriptive. The only song where she steps outside of this is ‘Madame M’ – imagine Shirley Bassey singing an alternative James Bond theme in the style of Liza Minnelli – a bizarre notion, but it works! Bombastic, epic drama which does not overlook the vulnerability of its central character – all in a four minute burst. To quote extracts of lyrics would not do them justice: they are best served whilst in their context, within each song - and work excellently within that context. Therefore I invite the reader to check them out whilst listening to this very promising debut. The ‘adult pop’ of such artists as Dido pales in comparison to what Marsha Swanson offers here. Marsha creates ‘music to think upon’ as opposed to ‘music to eat at dinner parties to’ and therein offers a welcome and necessary alternative. More please.

This week we invite you into the exciting new musical world of Marsha Swanson. Her folk-tinged songs are so personal you almost feel like you are invading her privacy whilst listening to her debut album, Watershed. On my initial listen to the supplied tracks, the delicacy of this new artist is an intimate joy. Music for dark nights, or perhaps summer afternoons?