Oh to be proven wrong! To see the fire behind all that media smoke and realise that Ladyhawke wasn’t the disposable side product of an electro-pop friendly musical climate that you initially thought her to be. The self-titled debut from New Zealander Pip Brown comes as a welcome surprise, providing not only the catchy choruses promised by releases -Paris Is Burning’ and ‘Dusk Till Dawn’ but a few edgier, more riff-orientated numbers in the form of ‘Manipulating Woman’ and ‘My Delirium’.
Messing around with all these different genres could potentially hurt the album as a whole but Ladyhawke seems to come up more or less unscathed every time. In fact, it’s often a lack of punch that leaves a lot to be desired in many of the softer numbers.
This mix of songs really begs the question of who is Ladyhawke? The edgy, modern songstress heard in -Magic’ – by far the album’s most satisfying and most likeable song – or the emotional pop artist heard in songs like ‘Back Of The Van’, which despite being a tad too -80s pop, with its cheesy synth and girls just wanna have fun verse, really has its moments? The album’s real failing, however, doesn’t lie in this contrast of modern and retro styles but the way in which they’re carried out. Disregarding those singalong choruses, the modern songs often fail to reach any sort of peak while the retro-throwbacks sound all too familiar. Paris may be burning but Ladyhawke only manages to smoulder at best.