Louise Aubrie - Late 44

  by Malcolm Carter

published: 25 / 8 / 2015

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Review

Something strange has happened recently; almost every new release that has been great rather than just merely good has been by a female singer-songwriter. It’s not just been confined to one genre either. From folk to pop taking in psych and the beat boom along the way, there has been some exceptional fresh music made by female musicians, with many pushing musical boundaries successfully. But missing was an album that displayed a little of that punk attitude, one that combined the differing visions of the new wave era between the UK and the USA. Louise Aubrie, a Londoner who shifted her base to New York, has built that bridge that connects the two perfectly. ‘Late 44’ is the third album from Louise. The debut, 2010’s ‘Fingers Crossed…’ gave notice that here was a musician who could create a new sound out of the classic rock ‘n’ roll that had gone before. In 2013 the follow-up, ‘Time Honoured Alibi’, confirmed that Louise is a musician who understands the connection between Phil Spector’s classic girl-group sound, those female-fronted new wave bands like Blondie and our own home-grown talent like the Photos and the Darling Buds. Throw a little of the Ramones in there and you’re somewhere near to the sound that Louise favours. It was a little worrying to read that Louise had not used the production services of Boz Boorer for ‘Late 44’ (although he does provide guitar on the album) and that the musicians that graced her last album were not employed on this latest collection, as that particular band and producer were well suited to Aubrie’s punky-pop vision. Although Louise has already proven that she can write memorable, yet edgy melodies and that, despite there being traces of her obvious influences in her vocals, she had a unique singing voice, both her previous albums displayed the sound of a singer, producer and band that understood each other perfectly. The resulting sound was of a tight little band rather than a singer-songwriter with a bunch of session musicians doing their best to translate what the artist was hearing in their head. Produced at Abbey Road Studios by James Knight (The Kooks, Ellie Goulding) and mixed by Denis Blackham, there was never any doubt that ‘Late 44’ would be a classy-sounding set of songs but would any of that punky attitude be lost without the input Boorer and that hot band brought to her songs? Thankfully the answer is no. ‘Late 44, despite a change of musicians and producer, still retains all that we’ve come to love about Louise Aubrie’s music. Those chunky guitar riffs still jump out on almost every cut. Joe Holweger’s bass drives along the songs in the same way that Matt Wigton did on the last album, and there’s little reason not to believe that Boorer had produced this latest collection, so close is the sound to that on Aubrie’s previous albums. It would seem that Louise has a gift for choosing producers and musicians who can articulate her musical vision perfectly. ‘Winter Dolour’, although not the opening track, is the one attracting all the attention right now, being the first song from ‘Late 44’ that Louise has provided a video for and if that’s your introduction to the album then it’s the perfect primer. As catchy as the common cold, the song shifts through a few changes, Louise mixing those 60's girl group vocals with a touch of the new wave queens providing just the right attitude. The song simply blows away thoughts of listening to anything else that day. While it echoes everything that we’ve ever loved about the female singing voice in a rock setting, those vocals are still so fresh and stirring. Just listening to the song leaves you almost breathless. It really is addictive and a perfect example of just how special Louise Aubrie is. ‘Please Don’t Touch’ details the awkward hour at the end of a date and has what has become by now a trademark of Louise Aubrie’s work; the killer chorus. The pounding drums that open the song and the slashing guitar all indicate that here is yet another prime slice of Aubrie punk-pop but then the song develops into the chorus where Aubrie sounds both tough and vulnerable at the same time. Once again the song won’t leave you alone for the rest of the day and you’re left wondering what the hell has just hit you. It’s powerful stuff. ‘Candlelight’ slows the pace down a little. It is a simple love song afforded a lush production that really does highlight just how expressive Louise can be vocally. For all the sterling work that everyone involved has put into this album, there’s no denying that Louise is one of the best singers in her field. ‘One False Move’ is musically more adventurous than most of the songs on ‘Late 44’, but it’s still that vocal that shines brightest. It’s another hook-filled song blessed with yet another irresistible chorus but those vocals really are exceptional. All ten songs on ‘Late 44’ are written by Louise. Every song takes off on little tangents. You’re never sure what will happen next with Louise Aubrie. She’s making her own rules up along the way, but you’re never more than a few seconds away from an irresistible hook. Her songs may take in many twists and turns but she never loses sight of a catchy tune. During a period in music when there are so many female singer-songwriters making such great music Louise has carved out a niche of her own. There are none that come to mind that are creating a sound that comes anywhere close to what Louise is achieving. If ever a contemporary album deserved space on the shelf, it’s ‘Late 44’. In a word; outstanding.

Track Listing:-

1 Masterstroke
2 Tearjerker
3 Perfect Battle Cry
4 Winter Dolour
5 Too Late
6 Next to Nothing
7 Kiss of Life
8 Candlelight
9 One False Move
10 Please Don't Touch

Band Links:-

https://www.facebook.com/louiseaubriem
http://www.louiseaubrie.com/

Label Links:-

https://www.facebook.com/RDJRecordings
https://www.rdjrecordings.com/home
https://twitter.com/infordj