Amber Gomez, the ex-lead lady of pop group Venus In Bluejeans is back on the scene with her brand new debut solo album, titled For Those Who Couldn’t Keep Me. The album marks a milestone in Amber Gomez’s musical career; a turning point, a chance to shed old skins and blossom in the gleam of true authenticity. Even with its distinctly personal direction, For Those Who Couldn’t Keep Me carries the touch of The Ark alum Les Fradkin and his California co-star (and wife) Loretta Pieper Fradkin. The pair contribute as producers, co-writers, and session musicians, laying key foundations that let Amber’s frontwomanship shine at full force.
And from the very first track, “You Left Me On My Birthday,” Amber plunges into her new style: a hypnotic blend of pop, EDM, and electro, crowned with an addictive 90s/00s girl-group aesthetic, so much so that this album-opener could work wonders as a Sugababes hit. Lyrics reminisce over a shattered romantic dream and the suffocating aftermath of being misled by your instincts. But this break-up track comes with an upbeat twist, refusing to settle in the misery but powering forth through inner bleakness with a smile.
The pop ballad “Mascara On My Pillowcase” picks up breadcrumbs of R&B and the ’90s girl group phenomenon, capturing flashback auras and shaping them to Amber’s riveting new mould. Its lyrics flow like a love letter to someone you’ve wept far too many tears over; broken-hearted, resentful, but, above all else, real, and as relatable as any true chart-topper.
“Say All Things” brings things back to the synthwave realm; soft and sweeping pads backing Amber’s bright lines, mixed with angelic backing vocal harmonies from Loretta Piper Fradkin, hints of saxophone, and Beatles-inspired chord progressions that give this song the sensation of being a decade-crossing hit. It’s a song of complete catharsis, as Amber bleeds her truth and walks away from the chaos unbound and unashamed.
Despite the horrors hinted at in its title, “I’m Not Black and Blue” froths up the most upbeat atmosphere dipped into so far; this happy-go-lucky pop tune is the result of ripping out the final fibres of your past life, and soaking in the newfound freedom now that the final hurdle of acceptance and release has been toppled.
“Disposable” strikes like a Belgian club hit, its tech-heavy soundscape instantly infectious and heart-pumping, as Amber dives headfirst into darker moods, warning of a maneater on the prowl while unravelling the all-too-often-experienced concept of treating entire souls no better than single-use plastics.
Then, the album’s title track, “For Those Who Couldn’t Keep Me,” takes centre-stage: a pop song carved with subtle reggae influences, serving unfiltered lyrical feminism like a long-lost Destiny’s Child single. Warm guitar solos thread this track, easily standing out as one of this reviewer’s personal favourites on the record.
The show-closing cover, “Song of a Thousand Voices,” wraps up this seven-song album, winding down with a piano riff and a vibe like 70s pop, until Amber’s trademark turn-of-the-century aesthetics blur the vision beautifully, allowing her to experiment with orchestral pluckings, a Disney-like chorus and a chantable outro that’s bound to pull a live crowd together like “Hey Jude”.
Overall, For Those Who Couldn’t Keep Me is like turning on the radio in 2005 and finding a spectrum of girl-power hits at your fingertips; personal experiences beautifully crafted into songs that heal and exhilarate, comforting listeners circled by love’s fire while trailblazing a new path out of the storm.
Our final verdict? Recommended.
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Contact: Les Fradkin
Email: lfradkin@earthlink.net