New In Town
The 'Bedroom Pop' electronic seamstress attracted a lot of hype in January this year after she appeared in the Upcoming section of Mixmag (Last Summer) and then the NME Radar section.
Her tinny but almost magical sound emerged after she quit her last band, Dead Disco in need of creating her own individual sound,
'I got tired of looking bored in front of brick walls'.
A mention is worth giving to a number one spot on the BBC sound of 2009 (Won by ADELE the previous year.) A VERY long time passed since the hype. An iTunes EP was released, but did not reach a wide audience.
On her first 'Proper' record, she collaborates with Greg Kurstin (Lily Allen, Sophie Ellis Bextor, Kylie) , who is renowned for his electronic pop-perfectionist feel, but also for "The artist has let down the fans" records. This record by no means is the same. Boots delivers one of those killer chorus songs which you know for an instant will be a number *And I'm waiting for praise when it does*!
The problem is, Little Boots is (and I know this is a cliched thing to say) out to sell. The techno dreamy synth is still there, but is predictable and somewhat "I know what will come next"-y...
Even from early on, the artist has claimed,
"I wanted to make a pop record. I don’t care about being cool or edgy. I wanna reach people and I wanna make music that people have fun to and have a good time."
Well, that sounds familiar. That's exactly what's happening, Little Boots is too clever to stay underground. In this post I give the thumbs up to Little Boots for braving the mainstream scene,
and the finger to those indie scenesters and critics who are too cool for any one's worth.
Listen, unless your too-cool... Looking at you Gareth Grundy from The Observer