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Singer/songwriter/pianist Alicia Wiley is just as likely to dig into piano syncopations that implore audiences to bop their heads as she is to lure in audiences with a warm, textured voice that defies her years.

With piano chops steeped in classical and jazz and strong pop influences Wiley has gathered comparisons to the likes of Fiona Apple and Diana Krall. Truth is, she is just as likely to be inspired by Miles Davis and John Coltrane as she is by Bjork and the Smashing Pumpkins. Yet, her ability to deftly meld pop melodies and jazz improvisation has created a sound that is both distinctive and worthy of serious attention.

With Both Sides, Alicia Wiley expertly weaves these diverse influences into a fabric entirely and cohesively her own. Equally sultry as it is infectious, Both Sides is full of throaty, warm keyboards that meld seamlessly with Wiley’s rich and beguiling voice to continually propel Wiley’s dark and engaging melodies. Deep yet sparse rhythms simultaneously push and crawl, and Wiley’s voice seems to beg more questions than answers of its listener, as you crane your head forward and hang on to each delicate lyric and animated phrase.