Little Boots – Remedy (Atlantic)
2/5
By: Matt Cole
I understand that it’s my task to see beyond the significant hype generated around artists in order to comment on the nature and quality of the music itself.
God knows I’ve tried to run a clean rag and some turpentine over the work of Little Boots in order to make a clean spot in the caked on hyperbole but to absolutely no effect. You know why? Because I reckon if I keep on rubbing, hell if I took an industrial sander to ‘Remedy’ what I’d find at the heart of the insipid bullsh*t is… absolutely nothing at all.
‘Remedy’ is soulless nonsense. Auto-tuned within an inch of its deeply fragile life, it resembles nothing more sophisticated than the dreadful European happy house we all laughed at during the 90’s. Yet we are expected to accept Little Boots as the future of music.
So why the hell is Victoria Christina Hesketh treated to such ubiquitous arse-kissing at the hands of the middle aged, middle class critical community? Is it because she was discovered on soon to be defunct, social pit of vacuous babble MySpace? Well whoopy f**king doo. Seriously. I have a 9 year old daughter who knocks out a cracking rendition of Three Blind Mice on the piano. I’m going to stick that on MySpace and watch the phone ring off the hook.
The music of Little Boots is, by and large, repetitive, employs ‘synth of the week’ sounds and is so insubstantial it all but disappears when put next to the likes of Rhianna. Because you see, Rhianna is under no illusion that what she delivers is anything more than throw away pop music, but she performs it with such conviction it’s hard not to be won over. Watch Little Boots live and she doesn’t even appear to like her own music. In fact she looks positively terrified of it.
As a footnote, straight after ‘Remedy’ on my iTunes is the new single by undervalued electro siren Billy Ray Martin. Go buy that instead.
Artists in this article: Little Boots
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