Dominique Dillon de Byington’s laptop has produced a cross between ghettotech, old school hip hop beats and a piano bound by the lyrically charming and explicit. The Berliner initially made a journey from Brazil to Cologne to give her delicate voice the chance to find a fitting accompaniment, though she has found the combination of styles work in her favour as she skips from a social songbird to, at times, an energetic dance vocalist with an enchanting effect.
“This Silence Kills” might have you expecting an album of 4/4 tunes with Dillon voice needlessly layered with effects, however that’s just a lively introduction – and it is a BPitch Control album after all. Second song “Tip Tapping” puts Dillon’s vocal talents at the forefront along with a playful tuba and sing-a-long lyrics joined by a selection of children at times. On “You Flash Against” Dillon displays her fragile side with lyrics about broken glass with the tender piano making a first appearance then “You Are My Winter” sees flashes of chirpy synths among the piano and a rippling bass. On “Undying Need to Scream” Dillon uses distorted effects to amplify a distressing scream which is a precursor to a more electronic break in the album.
“_______________” is an instrumental break with an angry keyboard aping a deep synth while Dillon’s breathless “oh’s” remind us she’s in control of the composition before “From One to Six Hundred Kilometers” follows the path set to a shady side of Dillon’s imagination. It’s a short-lived moment of darkness, as on “Hey Beau” Dillon’s is back to her life-loving best talking about robots helping to find a crystal. Her quirky nature continues through “Texture of My Blood” and “Gumache”, but she offers up an alternative personality on final tune “Abrupt Clarity” with pumping techno pounding, however Dillon breaks from a repetitive spoken word to close the album back with her tender voice and a gentle goodbye.
“This Silence Kills” is a joy to hear after what seems to have been a year of drab singer-songwriters dominating our airwaves with their bland warblings. Dillon’s experimental approach of stepping away from her piano to use the electronic in parts of songs or on whole tracks makes for a vibrant mix that gets the most from her captivating voice.