Five years we had to wait for the second album by La Roux. ‘s Worthwhile? Read more here! Also: Horror Yoga with The Acid, Punk Rock from Cerebral Ballzy. And best of Heintje.

What is love without lust already asked Elly Jackson 2009 their single “In For The Kill”: “I’m going in for the kill / I’m doing it for a thrill / Oh I’m hoping you’ll understand / and not let go of my hand, “she sang with so much emphasis that their voice threatened to tip into hysteria. “Bulletproof” is it against sentimentality – and a toy for tow sometimes not (“I’m Not Your Toy”). “La Roux,” says the self-titled debut of Jackson, was an energetic beacon amid a series of ambitious electro-pop albums of young British women, including Florence & The Machine and Little Boots.

What’s five years later it left? Is there a second chance for a young singer, what a cliché, quarreled with the quick fame, fell into depression and spectacular diving? Into the suffering from chronic amnesia pop industry Two million-selling albums and six million singles it will not be this time, so much is because, firstly, such figures are rare today, and second, Jackson is now a comeback artist, the novelty, the wow factor is gone.

Fittingly, also “Trouble In Paradise” has lost much of the raw power despite his gaudy pop-art presentation that made “La Roux” to an event. Jackson’s musical partner Ben Langmaid is no longer there, instead, is now helping Ian Sherwin, in his debut as a sound engineer here, as a composer and producer from. The songs Jackson wrote, however, again alone. And where it goes again to interpersonal relationships, the pitch, however, has changed blatantly: “The palm trees make it feel like it’s paradise / But without you here there’s nothing nice”, it rhymes with children in “Paradise Is You”. In exciting titled “Sexotheque” is about an unworthy guy satisfies his desire for light ladies, held at the protagonist of the song.

Much of the directness of the debut has turned into a verkünstelte inwardness; Songs like “The Feeling” or “Cruel Sexuality” play in a dream world, “Kiss And Not Tell” is about unspoken secrets. From the fun-loving young woman of that time, it seems, a sensitive, mature person has become who is love then but more important than lust. Instead of a gruff “Let ‘go of my hand!” asks her partner today in a romantic ballad about it, if it too can be, must fall as gently as possible (“Let Me Down Gently”). This can be found barren, but basically these unprotected insights into the emotional diary are pretty exciting and intimate. Even Jackson’s Pumuckl hairstyle was adapted to the new femininity of the wearer: Instead of interpreting cocky upward, the sandy-haired Great nestles now protectively over her face.

Even with the music the rugged most edges were ground in favor of a new slick and Smoothness, otherwise still dominates the directly imported from the eighties electropop, who has defined the debut: “Uptight Downtown,” according to Jackson solicitation, “Riot” to start fused Daft Punk’s new disco feel with David Bowie’s “Let’s Dance”; “Silent Partner” is “Billie Jean”, coupled with “Like A Virgin” and the “Batman” theme on speed. “Kiss And Not Tell”, “Sexotheque”, “Cruel Sexuality” and perhaps a little too bold to “Get Lucky” leaning “Tropical Chancer” shimmer with tropical sound paintings between Ronettes and Bananarama, everything beautiful blue-eyed, and so bittersweet.

Impressive: Almost all of the mentioned songs is a potential radio hit. And the last piece of the radicalized with a bit of dubstep dream fantasy “The Feeling,” Elly Jackson’s voice tilts but then again pretty hysterical to. What’s not to love? (7.8) Andreas Borcholte

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