Because 'The Night'....

The first time I saw Rose Elinor Dougall she was walking through a crowded bar in Brighton carrying a blue pom-pom. Along with rest of an incendiary, fledgling Pipettes she proceeded to sing about loving boys and girls in school uniform. Seldom have a I grinned as much 

Those first years of The Pipettes were like the first moments of a momentous crush. Giddy. Emotionally exhausting. Bewilderingly beguiling. 

Now I do not want to belittle what The Pipettes went on to become for I have loved all they have done in almost equal measure. Nevertheless there is something about those first eyelash flutters that retain a place in my heart that can never be eclipsed. Such is the nature of Pop.

Those Pipettes were such a great group. A real gang, or so it seemed. ‘Constructed’, yes, but what gang is not? There is no such thing as ‘authentic’ in Pop anyway. The Pipettes were Banarama, The Shangri-las, The Bay City Rollers. Everyone had a favourite.

It is no secret that Rose was always mine.

As such it always pained me slightly that I could not quite fall in love with her first solo records. Yes, ‘Another Version Of Pop Song’ was a shimmering, shimmying delight; ‘Start/Stop/Synchro’ a baroque-tinged beauty that charmed autumnal clouds. And whilst the subsequent ‘Without Why’ set was similarly diverting enough it left me wanting more. More edge. More toughness against which to frame Rose’s exquisite, charmingly just-this-side-of-cracking voice 

So with the release of last week’s free-to-download ‘The Distractions’ EP I was not sure what to expect. That the three tracks have so effortlessly established themselves as immovable fixtures on the kitchen iPod is, I think, proof that I have once again fallen head over heels. ‘Hanging Round’ cuts eloquently in staccato stilettos whilst ‘I’ve Always Known’ is a bona-fide massive Pop classic, all captivating choruses and salacious nods and winks. 

‘The Night’ is the real key for me though, with Rose sounding for all the world like a young Julie London doing Siouxsie Sioux impersonations whilst behind her guitars squall and burst like wildfire. Or at least like John McGeoch’s finest Banshee wails. There is about the backing tracks too a spirit of the likes of Kitchens Of Distinction or Ride; a dreampopping shiver and dive. Some of you will swoon like me to such references.

And you know, talking about being ‘head over heels’ is so apt because there is too something of those early Cocteau Twins records here. That same spectacle of a honeyed vocal magic juxtaposed with sandpaper sounds of claustrophobic darkness. 

With such genuinely great music being given away free one can only wonder at what other gems remain to be unveiled on the forthcoming album. I know that I for one am eager for the opportunity to give Rose my well earned money as well as my undying love. 

Comments

[rob]

Thanks for drawing my attention to this smashing ep - and immediately led to the CTs on the iPod...it's the guitars!
yes, great stuff Alistair.