The hype around Little Boots (aka Victoria Hesketh) continues to mount towards the release of debut full-length Hands next week. Hesketh has been releasing just enough to keep the press salivating for the next synth-pop sensation and Hands possibly heralds the arrival of just that. It’s resolutely an enjoyable, accessible record, intelligently crafted but avoiding any of the wanky artiness purveyed by certain other popular electronic acts: when you can pen a killer chorus like Hesketh can, there’s no need to explore such avenues just yet. Pounding synth lines drive the songs just enough without overshadowing the gorgeous vocals, what results is vigorously danceable pop music that doesn’t let up over 12 tracks, most of which sound like potential singles such is the strength in depth.
Current release ‘New in Town’ is an apt opener and sounds very much a statement of intent with its alluring lyrics painting a night-time cityscape full of adventure and possibility. It’s a compliment to the lack of filler that it’s otherwise difficult to single out highlights, though Phillip Oakley’s rousing guest spot on ‘Symmetry’ is something to behold, the edgy harmony between Hesketh and the Human League mastermind on one of the album’s strongest choruses is exceptional. ‘Remedy’ is about as close as Hands gets to a low point, being a little cringing in its shameless resemblance to eurotrance cheese, but too much fun to stay mad at.
Blessed with the level of media coverage she’s had, Hesketh could have released something quite mediocre and counted on decent sales, instead she seems intent on paying off the hype with interest.
