The last time I wrote about New York City singer-songwriter Devon, it was to discuss using covers, in her case a subtle reworking of Charli XCX’s perky pop paean to the unfairer sex, Boys as a way of grabbing an audiences attention before delivering the killer blow. What’s interesting about killer blows, especially sonic ones, is that they aren’t always as obvious as the term might imply. Devon’s killer blow, Never Mind, is in fact a supple and sassy, chilled piece of alt-pop, one that creeps into the consciousness of the listener like a Trojan horse.
Rather than making any sudden moves, it seduces and soothes, sashays and sways its way inside and before you know it, you are hooked on its charms. And its charms are many. Spacious beats, intriguing electronica, pulsing bass lines, gorgeously realised and well-crafted musical lines and of course Devon’s cleverly arranged vocals which blend haunting harmonies with a conversational front line and wonderfully understated passages with soaring and sensational top notes.
Never Mind is impressive without resorting to showing off, everything seems to be arranged to serve the song perfectly and in underplaying her musical hand the song feels even more intimate and infectious. Why opt for obvious killer blows when you can deliver subtle, supple and sophisticated killer pop? Why indeed?