Moody and understated, Warpaint’s second album, 2014’s Warpaint, continues in many ways in a similar style to their first, 2010’s The Fool.
The deep, slow, gloomy bass lines and light vocals remain the signature of the band’s sound. The opening drum-based track, Intro, which appears to be an extended version of the intro to the following song, shows how Warpaint like to let a song carry. While in the following song, Keep It Healthy, the band do this in a more traditional song format.
The smooth chorus to Love Is To Die and the wild, lairy delivery of Disco/Very stand out as highlights, however for me, Biggy is the best (and also the longest) song on the album, driven by a catchy riff with some lovely high pitched vocals that grow throughout the track.
Unfortunately, whilst generally solid, Warpaint (the album) fails to quite reach the heights of The Fool, like the brilliant Warpaint (the song), in which Warpaint (the band) mesmerising vocals build over a Stone Roses-style bass through a sinister opening and a dancey middle section, or the heart-grabbing, acoustic beauty of Baby.
Particularly in the second half of the album, the songs begin to get lost within themselves without really going anywhere. It’s for this reason, I can’t rate James Blake’s slight cougar of a girlfriend’s band as high as I’d give their first effort.