First, the lead singer Elly Jackson was the spotlight and the hype about their person too much. Worse but were the vocal problems, where they suffered for it. By his own testimony, they could not sing for a while, their high falsetto they no longer dominated. But eventually recovered Elly and the work on the new album began. However, there was disagreement between her and her partner Ben Langmaid Studio. So Ben did not like Elly's guitar playing in the play Kiss And not Tell, of which she herself was but thrilled. The parted ways; in retrospect turned out that Elly had suffered that music journalists had often claimed, Ben was the creative mind of the duo and the singer and Elly only the figurehead. In truth, she played a major role in the development of their music and is independent of her partner.
The small number of songs on the new album is probably explained by the fact that Elly Jackson is a perfectionist. As long as not every detail of the songs and they do not have the feeling of having produced a hit here, then it is not satisfied. Filler there are not with her. If I have an album with song the feeling that I can not decouple as a single, then I wonder why he ever is then on the album. And she's right: Each of the nine tracks could be a number 1 hit when the charts were not currently so resistant to really good pop songs.
And just so that leaves the the years, hopeful yet anxious wait on the comeback album justify: It contains, as has been the incredibly ingenious and timeless debut, pop music to perfection.
But what sounds Trouble In Paradise? Well, although it shows the first note to which the artist is, and Elly still sounds as if it had been beamed from the 80s to the present, but the uncompromising, infectious synthpop, who was then in not only me at first attempt ecstasy and euphoria offset, has given way to a slightly warmer sound, which one sounds more of Elly's soul. This impression is, among other things through the use of real instruments, which was not so given in La Roux. Of course, the synth elements have not gone entirely lost, on the contrary, they still play a role in all the songs. But only in the Banger Silent Partner they occur so dominant out like the debut.
Also not lost is Elly's flair for catchy melodies, which immediately set up in the ear and not spoil immediately. After the first listening test I could get all the choruses of the album from memory. In addition, the album has become time varied than the debut. Let Me Down Gently and Paradise Is You are the charming ballad of the album, but outweigh the uptempo numbers. Uptight Downtown convinced as the first single and the opening track all along the line, already the first bars with tear here. Kiss And not Tell is a sweet ear candy with a wonderful chorus. Cruel Sexuality sounds again completely different, at the same time relaxed and desperate. With Sexotheque comes an Incredible pop song, as they unfortunately all too rarely heard nowadays. I'd love to see how the song goes to the 1. Tropical Chancer to its name more than justice, is one of the most refreshing tracks on the album and is my personal summer hit. One of the summer hit finally does not have to be dictated, as do so many. In The Feeling Elly sets again their famous falsetto singing that has become rare on the second album due to vocal problems. But Elly's normal voice is indeed very pleasant.
Long story short: I adore La Roux and this album!
