La Roux : 'La Roux'
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Released: Out Now!!!
Label: Polydor
Since the barnstorming success and subsequent overplaying of single “In For The Kill”, the name La Roux is often greeted with hefty sighs and sounds of disgrace. Despite the obvious talent of the London electro duo, trigger happy DJs helped to turn an ultimately decent track into an irritating recurring nightmare. Couple that with singer Elly Jackson's unique falsetto tone, and you have an act that, despite a fresh touch, anger more than enthral. Therefore it is to be expected that an album full of the same might be greeted with some trepidation, but self titled debut La Roux is a great surprise. Full of variety, colour and eccentricity it manages to shake off the stigma and flourish into a very pleasing album.
It is the variety that is perhaps the most pleasing aspect. Whilst recognisable in tone and vocal, each track possesses an individuality that, unlike most electro pop acts, makes for a fresh fresh experience with each track. Second track “Tigerlily” is irresistible 80's tweaks and drum machines galore, it's simple yet substantial tone complimented perfectly by a decidedly robust vocal performance in contrast with Jackson's much criticised flasetto. Although it does indeed make an appearance, it is well implemented and harmonised in a less intrusive manner. Debut single “Quicksand” proves to be a star, it's slower melody and infectious chorus capturing the imagination. Although fairly simple in premise it's minimalist approach works well, with a drum machine and electro keyboard allowing Jackson to chirp her way through effortlessly. Again, harmonies lessen the blow of her voice, taking it from shrill pipe to a sultry wisp.
The duo are also more than capable of a more substantial side to their music. In brilliant contrast “Cover My Eyes” works as a ballad of love and heartbreak, free from attitude yet full on emotion. A perfectly balanced electronic drum sets the metronome for honest and frank vocals. “When I see you walking with her/I have to cover my eyes./Every time you leave with her/something inside of me dies.” Despite being fairly dramatic, the honest and understated way it is put across makes it a sincere and highly effective track. ”I'm Not Your Toy” also works as a feminist anthem as well as a funky electro tune. It's off beat melody and subtle beats complement a soulful vocal performance perfectly, with “It's all false love and affection/You don't want me, you just want the attention” being the tagline brimming with attitude. Despite having a strong grounding in all out electro pop, the variety implemented by the duo is impressive, showing talent and sophisticated writing that transmits through their tracks.
There are however a few minor blips throughout the course of the album. “As If By Magic” proves to be a fairly bland offering, a basic synth a limp electro drum proving the main focus of an altogether uninspired track. Whilst it is not without it's charms, most notably some fairly quirky vocal echoes, it falls way short of the early standards set. However, “Fascination” is a far more serious offender in terms of inspiration. With it's recognisable title, the chorus of “Frustrations, sensations, fascinations” make it far too similar to Alphabeat's track of the same name. Such laziness is disappointing given the obvious talent on show, yet the tracks do not threaten the good work already accomplished earlier on.
It is fair to say that La Roux will stun many, disappoint few and silence the majority. Despite their grating rise to prominence, the talent of the duo shines through almost every track on the album, blowing irked memories away. Despite a few tracks that fail to shine, La Roux can undoubtedly be proud of their achievements in electro. The album is fantastically summed up by stand alone great “Bulletproof”, the third single from the album. It's irresistibly bright melody and staccato vocals reach every recess of the brain, evoking memories without losing it's individuality. It is sure to be a monumental track, just as La Roux are sure to become a much more respected act. And to be frank, it is no more than they deserve.
Words: Dan Grose
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