If you have ever felt uncertain or uneasy in social situations, if you have ever found yourself overanalyzing and dissecting your every move or if you have ever just found yourself pissed off with feeling like an invisible outsider, then it is highly likely you will find the lyrics in this 10-track album relatable.
Beginning with electronic beats, lonely piano strokes, and a faint siren, ‘Addict’ snaps us into the album and Lizzy’s smooth and steady vocals set the scene of unrequited and bordering-on-obsessive love. ‘Gaslighting’ follows in a similar vein although the strokes are slower and Lizzy’s beautifully high notes crack in just the right places to give an overall feel of sadness and despair, a realization that the love/hate nature of the connection is perhaps not worth the battle. The song title ‘Yellow Paint,’ speaks for itself, with its mournful saxophone and repeated chorus of “I hate that feeling” it tells of a toxic trap, due to a fear of being alone.
‘Games’ is where the album appears to take a turn. A choppy keyboard intro with a whistle. This song is darkly humorous, there has been a breakthrough. Lizzy’s vibe is stronger. Her words are fiercer and she is laying it on the line. Telling of the frustration of being ignored and playing second fiddle to a games console, she is demanding some attention. It is almost a shame that the tempo is taken right down straight away again with the next track ‘Knocked For A Six’ with its powerful blast of melody and vocals but much heavier message of longing to feel validated.
In the songs ‘Knight Rider,’ – the saxophone is back but it’s sexier this time and the male vocal duet works well in harmony – and ‘Balloon,’ it is clear there is a message about superficiality and the way that one night’s actions may leave you feeling more disheartened than before. This album is a perceptive and poetic story of raw feelings and relationships, over a bed of beats, piano, and drums with a hint of 80’s pop flavor. Listen and relate!
‘BRUISE’ IS OUT 27th MARCH THROUGH PURE NOISE RECORDS
Review: Suzi Bootz