By: Molly Smith
Generation Club is bare, beautiful, raw, simple, and steadily rolls by. Each song subtly builds up with the consistency of a drum machine, and because of Love Ink’s minimalist nature, each nuance stands out and calls a purposeful amount of attention to it. For instance, the echos and slight slide in Sherry Leblanc’s voice are that much more sultry, the percussion is that much more foundational, and the electronic effects are that much more awakening. Leblanc’s vocals tend to be the main focus of each track, however, “Outta Sight” has more of a single vibe to it, and all of the pieces work together to make it cohesively catchy. While all of their songs bring something new to the table, consistencies exist that make them all identifiably Love Inks’. Each begins with the drum machine alone, lulling us into their rhythm right away. The beats are not heavy or dance-y, but rather feel natural, like a heartbeat or everyday movement. Also, each track has its has its own pattern of repetition and wraps everything up as concisely as possible. Truly, the definition of lo-fi is seen in Generation Club’s brevity, because they capture what they need to with as little time and effort as possible, which in this case is ten songs around three minutes or less.
Opening track, “Hold Out”, establishes the effortlessness that can be expected on the rest of the album. While the first two songs embrace minimalism, “Outta Sight” is slightly fuller and sounds more radio-friendly. “Night Lunch” gives Leblanc a chance to reveal her intriguing personality: carefree, but not reckless. “You can bid me well / I’m not about to follow” she sweetly teases, and her direct comments are nearly whispered with intention. In “Magazine Street”, we see her showcase her ability to know when to be legato and flowy and when to hit words with stronger force and bite. Deeper meanings in the lyrics are established through stylistic techniques. For instance, a begging tone is seen in “Solar Diary” through the repetition of “believe me”, that echos the track, “Blackeye” from 2011 album E.S.P. “Waiting on a Plane” is a perfect conclusion, lazily expressing how “time…drifts…on.”
Fans who have watched the previously released “Outta Sight” music video will find that the rest of Generation Club is perfectly complementary. With a U.S. tour this fall and European shows at the end of the year as well, it is safe to anticipate that Love Inks will grow from an emerging band to a lo-fi gem in the next few months.