I only own one vinyl by Little Boots and it is the limited edition white vinyl version of "Working Girl" from 2015. I seem to recall this record was initially funded by a Pledge Music campaign and, as I used that platform a great deal when it was active, I'd assume that's why I bought it. However, unlike a lot of Pledge Music campaigns, this record wasn't exclusive to their platform.
I can see a few users on Discogs who aren't impressed by the sound quality on this record and I have to agree with their assessment; it sounds pretty bad. I think every potential type of extraneous noise is included on this pressing as there is a general rumble of background noise punctuated by regular pops and crackles with sibilance bathing everything in a light distortion. This is one of few occasions where digital files actually provide a better listening experience. This thing sounds almost as bad as the Cocteau Twins and Japan pressings I complained about in previous post.
Despite the noise, I enjoy the first three tracks on this record and they are a great demonstration of how good dance influenced synth pop can be. The only downside to these recordings are the vocals. Victoria isn't the most accomplished vocalist and sometimes she sounds like the archetypal fragile throat singer. By the time you reach "Taste It" you realise some of the background noise has relented and the songs is playing relatively clearly. This is rather ironic as I find "Taste It" rather sour and think of it as a stuttering mess. I was surprised to find this track is produced by James Shaw from Simian Mobile Disco (a band I admire very much).
My favourite track on here is "Heroine" which has some great TR-808 style kicks and rumbling square wave basses to provide a perfect counterpoint to Victoria's brittle vocal. "The Game" reminds me of early nineties pop as it has a swing beat and some clever ragga licks. "Help Too" is quietly tender and another highlight of the record. "Business Pleasure", like three songs on here, was featured on a disappointing EP released in 2014 and this should probably have stayed there. The penultimate track, "Paradise" has a great bassline but the TR-909 snare with a plate reverb just sounds wrong. I can't decide if the the final track "Better in the Morning" is trying to be retro or just sounds old fashioned - either way I can take it or leave it. Despite recording with multiple producers this record actually sounds pretty homogenous and is worth a listen - just not on vinyl. 3/5
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