After a long introspective stint, Lonelady (Julie Ann Campbell) is back with her second album Hinterland. Having released an already very well received debut in 2010 (Nerve Up), you would think the pressure is on. Her latest album takes inspiration from the decaying Manchester suburbs, continuing her fascination with post-industrial ruins. Throughout you can hear influences from all areas of music – varying from Joy Division though Stevie Wonder to Hot Chip, that are moulded into a very modern form.
Right from the start of ‘Into The Cave’ you are hit by a post-punk bass and post-disco drums. A sense of uneasiness is brought on by jolting sounds and clanging percussion, yet you would still find yourself moving to the infectious beat of the kick and persistent bass. ‘Bunkerpop’ continues very much in the same vain, adding a strong influence from an 80s art pop Madonna. It is a very memorable track that has an almost robotic characteristic, bursting with moments of anxiousness. The title track is a playful mashup of Arthur Russell’s cello stabs with Nile Rodgers funky guitar licks. Its robotic beat is rigid and loose at the same time, featuring a deranged guitar solo. ‘Groove It Out’ was the song that introduced me to Lonelady, and after countless listens, it is my favourite on the album. On first listen you would think it is a relatively simple sounding song, but it is all a façade. Brimming with endless ideas, it is a song that never sits still. Its retro feel will make it a hit on any club night dancefloor.
After three great tracks that would get any disco moving, the music now takes a more experimental direction. The up tempo ‘(I Can See) Landscapes’ is an out-and-out punk number. A driving bass pushes the song forward, whist its sustained drone and glitchy guitar adds the attitude. ‘Silvering’ takes the listener into a timeless space, where you drift along to its techno/kraut like beat. Ongoing string chords create a dramatic and ominous atmosphere on the down tempo ‘Flee!’. Haunting double tracked vocals emote Lonelady’s isolated and detached feelings for all to hear on the only beatless track. They do say that after deep lows there are soaring highs which bodes true in the optimistic sounds of ‘Red Scrap’, restoring the energy for an affirming close to the album. ‘Mortar Remembers You’ takes all of the championing characteristics from Hinterland and makes the listener pine for album number three.
In my fantasy mind I like to think of Lonelady as the daughter of David Byrne and St Vincent, and when her parents unfortunately separated, she lived with her mum who was going out with LCD Soundsystem’s James Murphy (such are her perceived influences), as it is not a new and original sound, but it is still very much her own. Hinterland is clear, precise and fluid and it is done with an overriding air of confidence. I think it is a massive achievement for Lonelady to have produced an album of such quality and excitement, especially five years after her debut.
Iain Lauder
Website: lonelady.co.uk
Facebook: facebook.com/lonelady