Lettie might predominantly be tagged as electro pop but as her new album proves there is so much more depth and diversity to her sound and creativity. The UK artist is an imaginative and instinctive songwriter who weaves sounds and emotions with mesmeric and irresistible flourishes and skill. Unpredictable, insistently contagious, and persistently the cause of pure pleasure tingles within the senses, the new release Good Fortune, Bad Weather is a masterful and delightful feast for the heart.
To simplify a back story for an artist who has as many tales and sure to be inspiring moments to her life and career as the album, Lettie is a Suffolk girl who for the past decade has played in various bands and recorded solo material with Anthony Phillips (ex- Genesis) for Universal Publishing. It was in 2006 though that she met composer/producer David Baron and together it led to the recording of two albums in America. Things suddenly started to happen from this point with both Age Of Solo and Everyman without any real promotion gaining strong attention and acclaim. These led to a session for the BBC, special guest appearances on the tour of ex- Bauhaus frontman Pete Murphy in 2009 and also the following year, as well as guest slots with Chris Difford (Squeeze) and Roger O’Donnell (The Cure).
Personal tragedies surrounded the release of the albums for both Lettie and Baron and she returned to the UK, where she worked with a writer and producer in Oxford on her third album Other Days which never saw a completion as problems continually stood in its progress. A call from Baron led her back to America to work on a new, an invitation that has benefitted everyone given the wonderful result that has emerged in Good Fortune, Bad Weather.
From the moment opening song Swirl wraps around the ear there is a sense that something unique and special is on the horizon and the track takes no time to insist that feeling will be realised. From the brooding dark synth start with her sparking vocals on top, one is immediately drawn to an eager attention. A line mentions ‘the puppet master’ in an open swipe at a certain TV personality, television producer, entrepreneur etc, yeah him, but that term easily represents the skill with which Lettie caresses and weaves her sounds and ideas. Only difference is there is no self serving intent or dark lining to her creativity. Funny thing is if she was in front of the man you know he would not recognise the talent and pure artistry on offer.
Lucky steps up next with a beckoning graceful stomp across the ear, piano and guitar as melodically captivating as her stunning vocals. Nothing is forced, the song an organic summer upon the ear and thoughts that warms as it pleases.
The sensational Bitter actually puts what came before in the shade somewhat, great songs they are this track is simply delicious, a perfect slice of inventive, thoughtful and passionate. As with the album nothing is predictable or assumed, each note , harmony, and spiral of melody an inspiring and heart igniting joy. With a simple pulse but deep atmosphere the track explodes upon the senses like the brightest sun.
The addictive and pulsating electro Never Want To Be Alone sparkles in sound and lyrical poetry but has to make way for another of the strongest highlights on the album in the shape of 80’s electro pop flavoured Sanctuary. It brings the warm harmonies of Bat For Lashes alongside the hypnotic melodies of Orchestral Manoeuvres In The Dark though at times it could be Thomas Dolby and Shakespeares Sister partying with Propaganda. Yes it is that mesmeric and irresistible.
There is no weakness on the album, only varying heights for the continuous peaks of wonder. The sensational Digital with its Thompson Twins spice and sneaky Jona Lewie lurking melody both radiating nothing but pleasure, and the indie jewel that is Pandora with its jangly guitar and sultry flow, further incite a stronger an accumulating affection for Good Fortune, Bad Weather with ease. They also show the eclectic nature of the album, each song distinctly varied to each other and irrepressibly enthused with multiple flavours as the folk hearted Mister Lighter, the reggae pulsed title track, and Gwen Stefani pop of Aluminium Man show impressively.
Every song on the album deserves a mention but that is for you to discover as Lettie pleasures your very soul, though we have to mention Crash And Burn, another major highlight which lights up skies with shooting aural flashes and siren borne melodies. This is admittedly our first introduction to Lettie but it will not be the last, we want much more of this sensational stuff.
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