Rose Dougall's certainly been making a name for herself in the music scene. For starters, she made her way through by starting with the Pipettes who although didn't make the largest impression, they managed to brings fans such as Mark Ronson who coincidentally enough is working with Dougall on his forthcoming album. She even had a brief relationship with indie pretty boy Joe Van Moyland of the short live Joe Lean and the Jing Jang Jong (was that re worked album every really going to be released?) Now we're here in 2010 and she's attempting the solo artist scene. Her debut's taken a long 18 months to make and if that isn't dedication, I don't know what is.
The album has two different sides to it. On one side of the album, there's echoe's of romanticism throughout. Half of the tracks have a very 'vintage' feel to them. It feels as if, in a good way, that the music would be suitable as a soundtrack to a classic movie. Take opening track Start/Stop/Synchro for example. The baroque like keys add an air of eccentricity whilst contrasting twinkle/bell like keys add an element of mysticism to it all. Tracks in similar veigns include the likes of the spanish sounding acoustic laden 'Third Attempt' or the melancholic piano and violin infused 'Goodnight.' It's throughout these tracks that Dougall show's her great lyrical ability. A standout for me is 'Find Me Out' which Dougall sings 'My liver, my lungs, my arteries and my cerebral faculties.' Hell of a catchy line if you ask me. Whilst listening to the album, there was a certain sense of a fairy tale to it, if you'll excuse the metaphor. They seem very distant in their sound but it definately works for Dougall.
On the other side of the album is a much more energetic artist. Through the distorted guitars, the fast drum beats and the beautiful melodies, Dougall's sound begins to become closer to the raw energy of punk, indie and new wave music. 'Carry On' for example sounds like a mixture of the Smiths and the Knack with it's catchy deep basslines and it's shimmering, thick and melodic guitars. Dougall continues to exhbit such energies through songs such as 'Another Version of a Pop Song' through it's repetitious lyrical hooks which get stuck in your head like Dougall's intentionally stabbing them into you.
Dougall's certainly show that she can leave her musical beginnings behind and forge a totally different artist. Forget the cheeriness of the Pipettes. Dougall's become a much more mature artist. She's become much more sophisticated in her craft. Alot of the songs in 'Without Why' sound 'classic' in their style and sure, why not? Alot of them show the elements of a good classic indie track.
