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Album Details

• Artist: The Noisettes
• Album: Whats The Time Mr Wolf
• Label: Vertigo
• Year of Release: 2007
• ME Rating:
• Reviewed by: dadair on 2006-12-18

A Karen-O style vocal prowl feeds off caustically winding riffs to show up the new wave pitch of a band who boasts a front lady, Shingai Shoniwa with possibly the widest and most commanding female range in this modern era, to set up opener 'Don't Give Up'. The tempo continues to climb in 'Scratch Your Name', as though M People and The Bellrays have forged an alliance and been given a triple shot of adrenalin. Then, it is moments like this that defines great albums, the mood relaxes into the slow lullaby introduced and mysterious pop swoon, 'The Count Of Monte Christo'. This character, in true Dumas fashion, makes an unexpected entrance and completely changes the focus. A hint of folk and softness takes over Shoniwa's manner to put the listener and the album into cruise control, bringing playfulness out from a dark lyrical shadow.

The off-kilter and thrusting production touches of Ollie Evans, whose nudge has propelled The Klaxons and Gossip, is well utilised and it keeps The Noisettes' oblique focus in tact. 'Bridge To Canada' sets out a longing climb and brings a touch of aching soul to the fore, as this broad trio uses a shattering percussion clatter to put all their topsy-turvy drive into one well thought out foray. This spasm approach is adopted in 'Nothing To Dread' that juxtaposes racing grit with slow and contemplative Beth Orton interludes, when Shoniwa puts on another vocal mask to eek out feeling and defiance.

Tours with Muse and the odd date with Babyshambles have given this watertight trio the exposure they need to show their flexibility. The slightly rustic and jam fuelled 'Mind The Gap' will have struck a chord with Babyshambles' fans and the Muse crowd will have responded to the hearty projection in 'Hierarchy'. A dual gender vocal approach makes for a welcoming surprise upon finding the slow grooving hidden ode of 'Never Fall In Love Again'. It stands out for being the only track that the leading lady did not have a hand in writing, demonstrating a more straightforward, folk style approach hinting at a possible future direction, maybe? For now, let's just sit back and enjoy the range, eh?

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