Words by Connie Tsang
When I first heard ‘Paris is Burning,’ I was at my friend’s apartment and he was raving about this song. I was absolutely oblivious to the singer and the fact that almost all the clubs in Europe had put this song in play. Therefore I was absolutely oblivious that this song was universally loved. I submitted to his enthusiasm and upon hearing it, I yearned not just for Paris and the presence of cool kids drinking Merlot. This song has sick guitar riffs, danceable beats, and a sort of light from darkness with the use of synthesizers. It has the 80’s retro influence but edgier, cooler, and even a bit rebellious.
Ladyhawke is the ingenious voice behind her namesake album. Much of the sounds and structure from the aforementioned song are consistent throughout. The lyrics are simple and at times raw, stated starkly. The range of electro-pop in this album is immense and can be over whelming. It begins with ‘Magic’ and the song is like the one extreme of the album. The extreme of heavier lyrics, I left my heart for you, and you’re taking me for granted, that are accompanied with oppressive, longer synths. Then there is ‘Professional Suicide’ which comes off subtly as warning composed with smart words both funny and perhaps true; I see you had a hit back in ’89. Too bad we all don’t age as good as wine.
The voice of Pip Brown (her real name) is at times lush but never indulgent. One of my favorite songs of the album is ‘My Delirium.’ It starts slowly then immediately your ears are swallowed by the pounding of the drums. Her voice is elongated by echoes that in turn balance the quickness of the beats. All you can do is submit to compulsive head nodding and like it. ‘From Dusk till Dawn’ is another song that shouldn’t be overlooked. It feels like a strange rollercoaster ride. The song starts with the synths, transitions to a disco-like height then falls down with onomatopoeic words. The lyrics hit you like a hammer and by the time the song is over, you get the feeling of being happily confused.
The more pushes of play for these songs, the more I appreciate it. Her simplicity in lyrics juxtaposed with complex compositions of sound need to be consumed slowly to get the brilliance of what Ladyhawke has produced. It’s uncontrived, a bit unkempt, and a great way to get out our love for 80’s electro-pop without feeling completely embarrassed. Need I say more? (Modular Records, 2009).
