albums and tracks

Editor's rating

When the new female-fronted electro trinity first appeared, La Roux looked like the poor relation. Lacking the critical backing of Little Boots and the BRIT Award of Florence and The Machine, the duo were overshadowed and a little overlooked.

And then came 'In For The Kill', a single so sharp and sparkling, it threw the order into flux.

More catchy than anything Boots has produced and more successful than Florence's opening salvos, it announced an act worthy of recognition for more than the fact that one of them, singer Elly Jackson, is the daughter of Sergeant June Ackland off The Bill.

Whether La Roux the album fulfils the promise the pair have shown probably depends on whether you've lived through the '80s once already. It's less influenced by and more a full-on tribute to the era of shoulder pads, synths and androgyny.

Indeed, the inspiration is easily pinpointed. 'Bulletproof' is a straight Yazoo pastiche, 'I'm Not Your Toy' is The Human League's dual approach channelled through a single voice, and 'Fascination' is Eurythmics with added bells and whistles.

Yet, despite the starting points being so apparent, Jackson and co-producer Ben Langmaid still manage to satisfy.

It would take a hard heart and concrete feet not to bounce along to the keyboard drama of 'Quicksand' or the baroque electro of 'Tigerlily', although you might need a Harvey Wallbanger and a double-breasted jacket to enjoy the full effect.

Perhaps the appeal is the honesty of it all; the fact that the pair proudly display their love of all things '80s in such an unashamed way. And they've pushed themselves into pole position with a collection that, like the decade that inspired it, may be occasionally vapid but is ultimately bold and enjoyable.

Chris Long