It’s been a long time coming for La Roux’s second album. Five years have come and gone since the commercial and critical heights of the self-titled debut, and had it not been for a few low-key gigs last year, you’d be forgiven for thinking Elly Jackson had abandoned the project altogether. As it turns out, complications ranging from anxiety attacks, failed collaborations with the likes of White Lies and Nile Rodgers, and most noticeably the departure of long-term musical partner Ben Langmaid were all responsible for delaying the record. This all makes the prospect of new material sound like a disaster in the making, but the end result is not only a triumph but a strong contender to be the strongest pop record of the year so far.
Progression is essential on any sophomore release, and Trouble In Paradise doesn’t disappoint. While the La Roux sound is still clearly influenced by classic eighties synthpop, it now feels more forward thinking than the act of imitation the debut often presented. Nile Rodgers may not have made the final cut, but his influence over the bouncy riff of a track like Kiss And Not Tell is undeniable, making for a warm, immersive album that never feels like it’s sticking to a rigid formula or trying too hard. Tracks like Cruel Sexuality and Silent Partner allow for there to be surprises around every corner; the former starts life out as a relaxed funk number before a glorious middle eight transforms it into something more unexpectedly tortured, while at seven minutes long the latter constantly ramps things up just as you think it surely has nothing more to give.
Elly’s vocal delivery is also noticeably different this time round. Her previously shrill and rather divisive tone now radiates warmth and substance, allowing for both the slow-burn heartbreak of Let Me Down Gently and the carefree longing of Paradise Is You to sit next to each other with ease. With all this in mind, choosing the album’s best track is practically impossible, but the almost ABBA sounding Uptight Downtown and the excellently titled Tropical Chancer would have to be strong contenders. The latter may not be the most instant track on Trouble In Paradise, but the steel drums and reggae influence make it difficult not to fall in love with. The only true misfire comes in the form of closing track The Feeling, and even then only because it feels a little dull and lacking in hooks. Otherwise, this is a truly all-killer no filler affair.
Trouble In Paradise succeeds in a way that only the very best pop records have managed; it’s perfectly suited to today’s music trends and chart climate, but also containing that timeless quality that means it’s easy to imagine it influencing artists for years to come. After five years and a lot of hard work, the end result is as close to perfection as they come.
