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http://www.metroline-online.com/pages/entertainment/music/takenforaspin/hands-on-approach-leads-to-solid-debut.shtml“Hands”-On Approach Leads to Solid Debut
With the arrival of “Hands,” the result is an assured debut for Little Boots.
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The number of electronic albums has been multiplying, which is good news for fans of music with a bit of heft to the beat. We’ve been covering them heavily here over the past couple of years, including Ke$ha, Kylie, Madonna, and Lady Gaga. Another promising newcomer is Little Boots, whose debut, “Hands,” hit the streets earlier this month.
Little Boots is the solo facade for Victoria Hesketh, formerly of group Dead Disco, so the pedigree is sound. Leading up to the album, collaborations with people like Greg Kurstin (of The Bird and the Bee fame) and Joe Goddard (of Hot Chip) increased the credibility of the project. With the arrival of “Hands,” the result is an assured debut for the singer.
The music is unabashedly pop, but with an electronic edge that carries the music along. Dead Disco fans will note that there is less weight on alternative sounds, as Dead Disco was fond, but is more pop-focused. Hesketh’s singing is a plus, with a soft touch that is enjoyable and blends with the music nicely.
The beats are at times fairly minimal, similar to the way some of the recent electronic albums are structured. But the beats sound a little more modern on this album than Ke$ha or Madonna’s recent efforts, and also seem a little better programmed. Sometimes the sounds are fleshed out more, which generally turns out well. At times the beat goes off kilter from what would be expected, which makes it a little hard to listen to - this isn’t quite as mainstream as some of the other artists mentioned above, but there’s still a lot to like.
Among the winners on the album is “Remedy,” which has a nice backbeat and luscious harmonies. It subtly has a Lady Gaga feel, including the references to music and dancing being the remedy (no surprise, given Gaga’s producer, RedOne, is behind the track), but it’s definitely its own animal and is one of the highlights of the album. “Earthquake,” is a nice midtempo number with synth strings and beats that wobble in the background, giving a shaky feel to the song, which fits the subject matter. “Meddle,” has maybe the boldest beat of the album, yet is undeniably pop and has a catchy chorus.
“Stuck on Repeat,” the first track released with the help of Goddard, rides the dance line a lot more and has a beat that is reminiscent of Donna Summer’s classic, “I Feel Love.” The song uses music metaphors to discuss being trapped in a relationship . The beat carries the tune along and builds beautifully as the song reaches its conclusion. “Symmetry” is also more dance-centric, and is a duet.
“Click” slows down the beat and uses similes to explain how she’s connecting with someone, and manages to avoid anything too trite, which was nice. “Ghost” is quicker, but the beat is subdued, and acts more like a ballad in that respect, and is pretty elegantly assembled. The album closes with an achingly beautiful, but unnamed, simple piano ballad (it’s a hidden track after closer “No Brakes” finishes, which is why it’s listed as 10 minutes on iTunes).
Throughout the album, while the synths carry the beat, Hesketh’s voice shines through like a beacon, largely because there’s no vocal tampering that I could detect. That’s rare in an AutoTune world, but also gives the music a slightly different texture and helps give it a bit of distinction (although Hesketh’s breathy delivery isn’t itself distinctive).
Overall, this is a good first solo effort as Little Boots, and worth it for those who are fans of electronica. It’s got a strong pop center, which means the songs are catchy, infectious and likely to get lodged in your head. It’s worth it, and hopefully there’ll be more good things to come from the artist.