Class Actress: Rapprocher - Album Review

Class Actress
Rapprocher
Rating: Yeah Daddy Make Me Want It

Channeling equal parts early 80s Madonna, Nu Shooz, and Depeche Mode, Elizabeth Harper, aka Class Actress, brings her breathy, sultry vocals to a crowded market of synth pop purveyors but somehow stands out. She, along with fellow bandmate, multi-instrumentalist, and producer Mark Richardson, melt together slightly clunky, funky synths and percussion with hooky choruses and memorable melodies. The focus of course is always on Harper's voice which slinks and slides in and out of the verses like an animal on the hunt. The production work is stellar, Richardson never overshadowing Harper's voice, but not merely providing incidental music. It is a truly spectacular mix of music and voice.

The album contains a bevy of radio-ready singles that, in a perfect world, would be striking the top of the charts. "Weekend" bops along on a bouncy synth bass, and whispered synth lines, Harper's silky voice taking a huge bite out of the chorus.



"All The Saints" sounds like a long lost side project from a Prince protege; however, being more subtly sexual than his norm.



"Bienvenue" adds some grinding bass and sparkly synths to the mix, providing one of the most upbeat, driving tracks on the record.



"Love Me Like You Used To" is a lovely, midtempo number that erupts into a gorgeous chorus.



The album hits its stride though with the darker, more edgy tracks. "Need To Know" is sensual and dark, Harper's coy voice bouncing on a bed of intertwined synths.



"Missed" has icy synth stabs punctuate and add drama to the haunting track.



The album has a couple of missteps, but nothing that is a major problem. "Let Me In" seeks to end the album on a dramatic moment, with languid pacing and glacial synths, but ends up being a little more torpid. "Limousine" takes the 80s sound a little too close to the retro feel, and "Prove Me Wrong" suffers from a chorus and melody that just don't propel the song along. Aside from this, Rapprocher is a wonderful debut for this duo, and shows that their sound is fairly elastic, not pigeon-holing them into any one style. I can see them going darker or even poppier, and both sounds would work for them.

Rating Scale:

Chilfos: masterpiece; coolest thing I've heard in ages.

Woof Daddy: excellent; just a hair away from being a masterpiece.

Grrrr: very good; will definitely be considered for my top releases of the year.

Yeah Daddy Make Me Want It: good; definitely invites further listens and peaks one's interest for more material.

Meh: not horrible, but certainly not great; could have either been polished, trimmed, or re-thought.

Jeez Lady: what the hell happened? Just plain bad. They should hang their heads in shame and be forced to listen to Lady Gaga ad nauseam as penance.

Tragicistani: so bad, armed villagers with pitchforks and torches should run the artist out of the country for inflicting this abomination on the human race.