La Roux: ‘Trouble In Paradise’ Review
SO GOOD, IT MAKES YOU WANT TO KISS AND NOT TELL.
Elly Jackson has been gone from the torpid industry of music for five years, stirring the pot and marinating the creative juices that evolved into her fun, organic sound.
Besides the fact that Trouble In Paradise is the coolest, most innovative and trendsetting album thus far, this year, the most prominent component is its production. It’s honestly an effortlessly recreation of the blast from the bell-bottom, hip hugging past with infectious rhythms such as “Tropical Chancer” and “Silent Partner” that are guaranteed good times, including the guitar solo on single “Let Me Down Gently” (which is self-produced by Elly Jackson).
“So tired of breathing in numbers, trying to stop my racing heart.” La Roux experiments with demure metaphors (Cruel Sexuality) sporadically throughout this 9-track record. Irony plays an apparent role in all of the song titles like “Uptight Downtown,” but mostly in “Paradise Is You” where she claims that her significant other is her paradise, but the album is titled Trouble In Paradise.
Interestingly enough, her vocals are sectioned off into ripples, usually a three-part chorus; where she plays on the back vocals really well, keeping her audience alert, making way for catchy songs that are easy to learn. Jackson’s voice is a funky combination of weak and strong, absent and present, ancient and modern.
THE BREAKDOWN
Trouble In Paradise will keep you intrigued, dancing, and ecstatic that La Roux has made her musical return.
Was La Roux’s five year hiatus worth the wait? Let us know in the comments below.
*This review of Trouble In Paradise is based on the 9-track Standard edition.
I couldn’t disagree more, honestly. Me and my girlfriend gave it a listen the other day in its entirety. Of course it’s just our opinion, but the lyrics were extremely average, always about boys and rhyming “sad” and “bad” for a main hook was a low point. The music lacked any punch for us. It felt like a step back from her last work.
Ah well, different strokes and that.