Review: Ladyhawke returns in a shower of synth and lyricism with new album Wild Things

Multi-instrumentalist Ladyhawke's highly anticipated third solo album Wild Things has been a major hit with fans yet some critics (I'm looking at you The Guardian- who called this record something a machine could have made using Katy Perry as a reference point) seem to have missed the pulse that beats throughout Ladyhawke's work. They seem to have mistaken the lack of angst and less rigid perspectives of Wild Things as artistic regression: it is much easier to laud the stark darker themes of her 2012 album Anxiety. In reality both records are highly introspective and contemplative, offering lyricism that slow burns rather than punches, this record is just from a more optimistic perspective.

This highlights a perculiar issue many musicians face, we have come to love the tortured genius archetype more than we probably care to admit, and possibly more than the art we are supposed to be engaging with. So it is really no surprise that after overcoming the personal demons that had been present during her first two solo albums, critics may find a newly sober and optimistic Ladyhawke is a little tonally different. This to me represents a resistance to artistic evolution and growth, Goldfrapp underwent similar criticism with their Head First record, a joyous celebration of life that received undue flack as it departed from the sombre tones of their earlier albums. In reality both Head First and Wild Things serve an important purpose, turning a keen artistic eye upon subjects other than alienation, rejection, suffering or misanthropy. 'The River' is one of my favourite tracks from Wild Things, the lyrics celebrate the little details of life within the larger perspective of moving through the world, with an inventive beat and jangly keyboard melodies accompanied by throaty vocals. I fail to see how this is less artistically valid than her darker tracks because it is happy, are we just addicted to doom and gloom from our musicians?

Far from mechanical what has always made Ladyhawke's lyricism and musical style individual is it's off kilter take on pop and the eighties sounds that founded popular music. This hasn't changed on this album, instead the confessional singer is simply focused on a more positive body of themes. Take 'Money to Burn' and tell me again how this newer material is derivative, flavourless or lacking in thought. Or that the progressive beat and experimental synth patterns of 'Hillside Avenue' are as monochromatic as much of what dominates the UK charts usually. Wild Things doesn't disappoint, the same keen observation and reflection are present throughout the lyrics and the same ear for musical composition. As a fan of Ladyhawke since her first solo album I find it exciting to see her moving in new directions. The issue remains that many will see this work as more superficial because of it's happier tone but in my humble opinion if anything managing to elevate these less dramatically emotional and volatile things to great music is a far greater achievement. Perhaps the critics just needed to listen a little harder?