La Roux
Supervision

Released just before the pandemic catastrophe, Supervision has often been considered a flop. It is essentially a solo album by Elly Jackson, following the departure of former partner Ben Langmaid from the La Roux project, and perhaps because I had never heard her music before and had no references or expectations, I enjoyed it.

A common criticism is that, after a six-year wait for a new album, the material offered is too little: true, there are only eight songs, but beyond the quantity, we must evaluate the quality. Others say that the previous Trouble in Paradise was markedly superior; personally, the only noteworthy moment of that album is the first part of Silent Partner, which has an incredible drive. Others still argue that the material is too flat and monotonous; in my opinion, however, in Supervision (almost) every track has its own soul, something that stands out, that leaves an impression.

The third album by La Roux, perhaps known to the casual listener for hits like Bulletproof and In for the Kill, offers fresh, cheeky, and joyful synth pop, certainly not without its flaws (some tracks, for instance, are too long and repetitive), but these are compensated by a refreshing sense of carefreeness. And for satisfactory work, the last track, Gullible Fool, would be enough; it starts off subdued, tinged with a melancholy akin to nostalgia, only to explode into a jubilation reminiscent of strolling along avenues on summer evenings.

I'll hold on tight to this flop.

Until next time.