It's hard to believe that the debut album LA ROUX, which is named after the band, was released in 2009. You could indulge in the mistaken belief that it was already included in the '80s, if you also consider the cover during the first airplay. It shows the profile of frontwoman Elly Jackson, whose wild, playful hairstyle testifies to the craze and experimentation of the 80s. If you put only then the panel on, the impression can not help but be one. What is presented here are the 80 best! Each song is carried by the dazzling synth sound you often tried in vain to copy nowadays. There are some artists who make it reasonably to transmit the electro-pop from this significant for the history of music decade to the present. Finally, the 80's the commercial heyday of the music industry represent, with such high fliers like Michael Jackson or Madonna, who set the bar for record sales. Since it is quite understandable that one is now trying this time to get closer to the music again. What would, for example Lady Gaga POKER FACE without the unmistakable synth intro, which invites you to Amoktanzen? Surely it would have been not a hit without the subliminal 80s flair. This flair is in La Roux also available, but is because the electric music in the center. You will not be additionally overlaid by hard beats and the voice of Elly Jackson is not shredded by the vocoder, as usual for now. Here the music comes from the pure rhythm of the melody. And if then but once lost a little beat of the song, has he not overstate the title (with the lead single BULLETPROOF like). The 80s lived specified by melodic, that leaves the audience dancing even today. The beat, however, is more of a stylistic device of the present pop music. La Roux have convincingly offered, that the pure keyboard sound of yesteryear currently can acquire yet.
Accentuates the twelve entertaining title of the debut album with lyrics that are just as poetic as superficial. Is sung by an unhappy love affair, but also by a sense that you would describe as nostalgia (Class: Colourless Colour). This transfer Elly Jackson and her partner Ben Langmaid the general carefree feeling of the decade, which one ascribes the endless desire for more success in the first decade of the new millennium - and their debut album shines with perfection.
Really every title of the panel has succeeded. There are to be reported no total failure. All tracks fit into the concept. The album is structured in two sections: The first six songs are Dancefloor Burner, which some want to burn immediately to mind. Highlight is the quartet QUICK SAND / BULLETPROOF / COLOUR Colourless / I`M NOT YOUR TOY, a partial mix of Depeche Mode and Alphaville. The second part, which means switching to side B on the edition of the record, represent six more calmer titles, which you still have to allow some run laps, so that they can develop their potential. Very nice here is the abgespacete AS IF BY MAGIC. The bombastic conclusion GROWING PAINS also deserves mention.
What does the sound of the 80 better advantage as the medium of vinyl? Packed it is in a gatefold cardboard with two side pockets (sleeves), in which the plate and a poster of the singer have been attached. The record naturally has a stable classic dust, on the lyrics have been printed. If you fold the mat cardboard packaging on, you get an impressive view of the (British?) Nightlife, in close-up Elly Jackson is staged again. Very aesthetically the set comes along. The CD can not strengthen the devotion to the 80s certainly. It's just part of a needle run over a plate to see if you will be transported back to this time.
