The opening chorus-filled guitar reminds me of a quickly becoming taboo subject – The Smiths. Well, no, it reminds me of Johnny Marr, let’s get that straight, not old Mozzer and his bigoted ways. The rest of the record is pleasant, vocal-lead and 80s inspired, alt-pop, which isn’t usually my jam but I’m swayed, it’s good.
Spread across this little vignette are some excellent melodies. ‘Terrible Hands’ especially is a tune. The song is about being in a relationship with someone you know isn’t nice, someone who cheats on you, but you can’t help still have feelings for them: “I’d take the bad parts of you over the good of me.” The vocal line melodically loops atop a pop synth in a cracking chorus – prepare yourselves to probably hear it soundtracking a Nike advert. Whilst, John Wayne – another racist bigot – actually features in a sample, perfectly embodying the kind of corrosive but charismatic figure described in the lyrics.
‘The New Lovers Dance’, follows a similar vibe, leaning on its instrumentation slightly more. It reminds me of an artist we discovered called Tanners from New York – might be worth checking out this if you enjoyed the EP.
Throughout, the vocals are really what stands out. Faye O’Rourke rises above every mix in a Kate Bush-esque manner, belting out a beautifully Irish tinged vibrato. Brill. But, this is both a blessing and a curse. The songs at times rely on the vocals too much. Some more synth, a bit more colour to the backing, or something more dynamic wouldn’t go amiss across the EP – I couldn’t help but feel at times the mix was a bit ‘by the numbers’ so to speak.
All-round it’s a nice release, and its a release that on paper shouldn’t be my cup of tea, but after a few listens and some hindsight it had some excellent moments.
Haiku Review Soda Blonde sounds like A pornographic coke float, Think I’m going mad,
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