One record at a time: 232. La Roux - Supervision

After another lengthy hiatus, La Roux returned with the album "Supervision" in 2020. I ordered a limited edition white vinyl from Ellie's website which came in a signed sleeve.

Prior to the album arriving, I had head "International Woman of Leisure" which intrigued me without being overly impressive. As I had bought the first two albums I thought I might as well take punt on the third.

"21st Century" kicks off with a jaunty beat and some Nile Rodgers-esque guitar work, but the cadence in the chorus just doesn't work for me. The retro Linn drum sounds are brought out for the disco vibes of "Do You Feel" which rolls along quite nicely. "Automatic Driver" and "International Woman of Leisure" continue to employ the annoying choppy rhythm guitar and the melodies are limp to say the least.

The first track on the second side initially raised my hopes of hearing something other than rhythm guitar over a programmed beat, but this hope was extinguished after about thirty seconds. The repetition of style is a real shame as "Everything I live For" has an original bassline and Ellie's vocal is great - it's just that damn guitar. "Otherside" has some eighties, LA vibes about it and "He Rides" is a perfectly competent mid-tempo bop. The final track "Gullible Fool" was released as a single but it doesn't really have anything to distinguish it; other than its more restrained use of rhythm guitar. 

Until this listen through I don't think I was quite able to put my finger on why I didn't like this album - but now something has crystallised in my mind. The over use of faux Chic rhythm guitars and the weak melodies are the Achilles heel here (and on the previous album come to think of it). I know Ellie wanted to move away from the synth heavy sound of the first record but this isn't to my taste. This is the second time I have been bitten by a La Roux album and, short of a reunion with former bandmate Ben, I can't see me buying another. 2/5

One record at a time: 231. La Roux - Trouble In Paradise

As I enjoyed La Roux's eponymously titled debut album, I decided to pre-order the box set of the much delayed follow up "Trouble In Paradise". As well as the vinyl there was a signed CD, a code to redeem mp3 files and a T shirt. The original specification for the box set included nine (yes, nine) matchboxes, but unsurprisingly these were swapped out for a signed and numbered lithographic print instead. The box has unique artwork and is individually numbered. I was really looking forward to receiving it.

However, when the box set arrived in July 2014 I was left rather disappointed. It seems trouble doesn't only occur in paradise; it happens on vinyl too. There's no other way of saying it, but, this album isn't very good. 

I think it is fair to say that the success of the first album brought considerable pressure on band members Ellie and Ben. This pressure culminated in a split that meant La Roux was a solo project by the time this record was released. The break up of the group was in part due to Ellie's desire to introduce acoustic instruments and lean towards a more funk and disco influenced sound for the second outing. Unfortunately this change of direction didn't suit Ben and it seemed to leave many fans behind too. I went to a concert on the tour that supported this album and the contrast between the old material and the new was quite stark when they were laid side by side.

Everything on this album could be described as "mid". It's definitely not terrible, but equally it has no spark, no hook and no magic. "Uptight Downtown" has some nice touches and "Kiss and Not Tell" is close to the sound of the first album, but songs like "Tropical Chancer" are too repetitive and "Sexotheque" is just nonsense. I knew not to expect a repeat of the first album, but I don't think I was prepared for something as troubled as this. 2/5

One record at a time: 230. La Roux - La Roux

I originally bought the CD of this album in 2009 and acquired this US pressing of the vinyl in about 2015. I like this album for two reasons: firstly the music is good and secondly because it reminds me of a very happy time in my life. 

The first few songs on this album make an almost perfect collection of eighties tinged synth-pop with a modern twist. "In For The Kill" has an irresistible tune and was a big hit here in the UK. The intricate "Tigerlily" has some fantastic flourishes and even makes a nod to Michael Jackson's "Thriller". Whilst it may have failed as a single originally, "Quicksand" has a great sound palette, not the least of which is Ellie's falsetto. "Bulletproof" rounds out the quartet with its near perfect bleeps, beats and bass. I read somewhere that Ellie never liked this song and is isn't totally comfortable with this being her biggest hit and representing her. This seems a shame as it is a work of near perfection.

I'm not a fan of the chorus on "Colourless Colour" as the lyrics are way too obvious and are banal compared the brilliance that preceded them. I was surprised when "I'm Not You Toy" was released as a single as it didn't sound particularly radio friendly to me due to its protracted bridge and truncated chorus. 

"Cover My Eyes" is the first "slow song" we encounter but the choir and vocals don't really work for me. The quality of the songwriting is lifted once again with the fantastic "As If By Magic" and "Fascination" - the former of which even survives some timid guitar work. As the album draws to a close things do tend to dip a little with songs like "Reflections Are Protection"  and "Armour Love" not quite hitting the mark. The "Bonus Track" titled "Growing Pains" is a little repetitive but is a welcome addition. 

Generally I like this album, but listening to it today I am less inclined to forgive it its failings in the way I did in 2009. This record won plaudits when it was released as it came on the back of a wave of eighties nostalgia, but today that sentimentality has largely evaporated and some of the more mundane tracks fall a bit flat as a result. 3/5.