ALBUM: Little Boots ‘Working Girl’

Rating:

Little Boots can make a good dance record – on listening to Working Girl that’s one thing no one can deny. Yet something about the album suggests the ability to find anything truly fresh in the electro-pop/dance category is becoming increasingly hard.

That’s not to say it’s a bad album, however. Title track and album opener is a perfect clubbing anthem; Little Boots’ (AKA Victoria Hesketh) trademark intoxicating vocals and empowering lyrics – “I will never let you let me down” / “Come so far for a working girl” – spark up images of strobe lights and reckless dancing. This is, arguably, exactly what a dance record should do.

‘No Pressure’ continues in a similar manner – a little stronger perhaps, more synth heavy but nothing groundbreaking in comparison. While I’m perhaps being unfairly critical – it does, after all, have some incredible tracks, and will slot in seamlessly on any club playlist – it just gets a little lost. The mistake almost lies in the fact that two of the strongest tracks (‘Get Things Done’ and ‘Taste It’) are side by side, at the beginning of the album.

‘Get Things Done’ is a great example of exactly how to write a pop song. With its catchy choruses and hip-shake-inducing melodies; a proper earworm, but something you certainly won’t regret knowing every single word to do.

‘Taste It’ seems to carry an almost tribal influence, with it’s steady beats and wind-chime sounding vocals. It’s clear with this album that although musically it may not be overtly original or exciting it is – rather bizarrely for an album of this nature – the vocals that carry it through.

There’s a definite feminist message in Working Girl. If the title isn’t enough to give it away then ‘Real Girl’ and ‘Heroine’ will no doubt do the trick. “Did you think I’d be flawless?” Hesketh asks, before creating a power balance with “you were my hero / I was your heroine”. The message gets mixed up in the unwearying synth melodies and staccato beats as much as they get mixed up in themselves. It all sort of blurs into one long track.

The interlude continues on the theme from the intro – an automated message machine that has no apparent place in the album. Unless there’s an obvious link that has completely passed me by, it had me stumped: even more so because it doesn’t even split the album up particularly. Apart from ‘The Game’ sounding a little more ’80s influenced, and ‘Help’ – sounding a lot like Little Boots’ debut record – acting as one of the most refreshingly different on the album, the initial difference fades out pretty quickly.

With the final three tracks (and bonus track ‘Desire’), the album fizzles out almost. Once again, they’re not bad, but they’re almost unnecessary. Working Girl could’ve done with being at least 4 songs shorter. It’s not a bad effort, but I can’t see it going much further than the dance floors of countless clubs.

Working Girl is released on 10th July via On Repeat.

Melissa Svensen
@MelYeaahh

Melissa Svensen

Melissa Svensen

Melissa, 22. Editor. Student, music journalist, probably talking about Blur or Bowie