An unholy, beguiling and at times mischievously brilliant mixture of pop, Tin Pan Alley, vintage showtunes (Chestnut Avenue), hip hop, abstract electronica and horror film culture, the Baltimore-born, Hamburg-bred artist is just as impossible to define as to not enjoy. The broad theme of the album is that her creations are monsters she cannot tame or control - Animals Will Come is a good example and the breadth of her styles is breathtaking. Orange Tic Tac refers to a “schizophrenic timeline”, while on the highly eccentric I Can See You, she clings on to a sense of self (“inside of your hands will always be the same’) while also sounding a little like Sparks, who perhaps, among all the mish-mash of influences and voices, from a drawling, ironic Betty Davis to a twittering high falsetto voice, the brothers Mael may really be the prime formula for her uncategorisable adventures in pop. I’m Looking Up tinkers along on syncopated piano and oddball clicks and little flute sounds, while her powerful voice lowers and rises to sense of drumming-high triumph. I Can See You is a dark, retro electro pop with quirky noises with video which echoes a notoriously hilarious drug-affected scene from the film The Wolf of Wall Street. Daring, strange, highly eccentric and restlessly wonderful. Out on City Slang.
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