“Nocturnes” – Little Boots

3 stars (out of 5)

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Last time around Little Boots lost out to La Roux and no one was expecting it. Little Boots was hyped to the point where it was inevitable that she would become, at least for a year, a Very Big Star indeed, but this didn’t materialise. Following her big, underground blog hit and debut track “Stuck On Repeat”, still many people’s favourite LB track, the first big, official song “New In Town” came with a misjudged video and after a quick appearance in the top ten, it was gone. RedOne, massive at the time because of his involvement with the newly hatched star Lady Gaga, was roped in to produce the next single “Remedy” (subsequently very popular at the Olympics I’ve been told) and again, another terrible video and another song that failed to dominate. An album, “Hands”, was eventually released to very mixed reviews (it’s actually a very solid debut) and then La Roux crept in and became the Very Big Star with a number 1 single, a number 2 album and USA success resulting in a Grammy. That was, somewhat terrifyingly, 4 years ago now and neither LB nor LR have followed up their debuts; until now that is.

“Nocturnes” is an album that had a considerable history before it was even released; massive rows with record companies, lack of creative control and scrapped sessions finally resulting in Victoria Hesketh aka Little Boots releasing the album herself. One of the reasons for this act of ultimate control was obviously to allow Little Boots to release the album that she has been trying to make for the last 4 years with no absolutely no restrictions or compromises and this is why it is so bewildering that the end product is most definitely and disappointingly a flawed one. Little Boots knows her dance music and with co-writes from members of Hercules and Love Affair and Simian Mobile Disco and the album being produced by Tim Goldsworthy of DFA, sonically this is a change from the first album where Phil Oakey was a guest vocalist and eighties electro synth pop was cited as the main influence.  There are overlaps of course but this sounds different. This is an album that wants to take its time and stretch out, languish; two tracks are over 6 mins long (and they are both mid tempos and down-hearted) but Boots is still writing 3 minute pop songs which can rattle around a bit in the overly extended time frames given to them here.

Three of the best songs on “Nocturnes” have been released before but the general tone this time is more serious. “Shake” is a straight-up chunky house track, the structure of the song, the repetition, it’s not a pop song and it holds up; you play this in a club and people dance. “Motorway” sounds like Saint Etienne (Hesketh and Sarah Cracknell also sharing similar sounding vocals) doing Bronski Beat’s “Smalltown Boy” (a good thing) and “Every Night I Say a Prayer” is old school vocal house with a lovely, dreamy piano riff. New tracks don’t do as well but “Confusion” has some lovely, intricate details and is a successful stab at disco (unlike the chicken in a basket, flabby Kylie album track, “Beat Beat”) and “Crescendo”, which is a real oddity, a pop ballad stretched out to 6 minutes that is lovely and sad for about 4 of those until it starts to morph into Natalie Imbruglia’s “Torn” and things become stretched to breaking point. The songs are here on the whole but the energy is oddly not, which is by far the biggest difference between this and her debut, and this is meant to be a dance album. Minutes go by where nothing happens and awkward synth lines or a lonely syndrum fill time where anther song could have taken their place; she must have written more than 10 in the last 4 years?

Little Boots reminds me of Cocknbullkid, another young, talented British singer-songwriter who has failed to engage with their target audience. Both are slightly self-conscious, intelligent women who can’t seem to fully inhabit the role required to be a successful pop star; arrogance and posturing is absent and it isn’t just this aspect that La Roux gets right.  She is admittedly outspoken but she also has an almost instant iconic appearance which she knowingly, smartly exploits. I doubt most people could identify Hesketh by picture only, music lover or Daily Mail reader. Boots’ strength is her song writing and “Nocturnes” will establish her place in the touring circuit as a dedicated artist that needs to create and I hope she finds a way to continue to do this without becoming the massive pop star that initially it looked like she would be.