Elastica - Elastica > Reviews > Elastica Fantastica

Author's product rating:   

Originality	Average
Lyrics	Standard
Quality and consistency of tracks	A couple of weak links
How does it compare to the artist's other releases	Outstanding
Value for Money

Advantages:	great short guitar - pop songs
Disadvantages:	not all tracks as good as 'Line Up' or 'Connection'

Recommend to potential buyers:

yes

Full review

The Indie scene of the mid-1990's spawned a whole host of British bands with attitude that didn't seem to be aping their American counterparts. Few of these bands carried a greater weight of expectation that the London quartet Elastica. Comprising of Justine Frischmann (lead vocalist and guitarist), Donna Matthews (backing vocalist and guitarist), Annie Holland (bass) and Justin Welch (drums), their eponymous debut was one of the most eagerly anticipated releases of 1995.

Much of this hype had developed due to Frischmann's personal life. A former member of Suede and girlfriend of their lead singer Brett Anderson, she later became romantically involved with Blur's Damon Albarn. This sparked a bitter war of words between Anderson and Albarn, and the threesome were rarely out of the music news headlines at this time.

After signing to Deceptive records, the album zoomed straight to the top of the charts, despite the fact that all the singles taken from it failed to reach to Top 10. The album's opener is 'Line Up', also their first big single hit when it came out in 1994. Characteristically short at just over 3 minutes, its intro is one of the most memorable of its time with its jangly guitar and what sounds like a man retching. With its catchy chorus and peculiar cardboard video, it gave the band commercial appeal, as well as the credibility that had already established previously.

Track two is even shorter, checking in at just over the minute, and is a tribute to bandmember 'Annie', and is the only song I can remember that name-checks Holsten Export... This leads nicely into 'Connection', which is arguably their most popular and recognised track, thanks in no small part to Dom Joly using it as the theme music for 'Trigger Happy TV'. Although it's extremely raw in its production in that it almost sounds like a demo, it's extremely charming, especially with Frischmann's almost effortless vocal.

A big fan classic is 'Car Song', which although never released, holds up as one of their best songs. Perhaps sounding a little bit like fellow indie-darlings Sleeper, it has a gorgeous backing harmony to complement the classic guitar-pop riff. 'Smile' is perhaps a bit less obvious than some of the previous songs, but still has the same raw energy and is over almost as soon as its begun.

'Hold Me Now' is a slightly less frantic tune with Justine's lazy drawl taking centre-stage, although this doesn't really stand out from the other tracks. 'S.O.F.T.' is one of the longer tracks on the album in that it lasts over three minutes and is another hark-back to the naw-wave bands that Elastica were clearly influenced by. After the more sparse guitar-led track of 'Indian Song', we go straight into 'Blue', which launches into a punk frenzy after a mellow introduction.

'All-Nighter' sees the band another characteristically short song. Track 11 is their biggest commercial success, 'Waking Up'. Cheekily stealing a huge chunk of the Strangler's hit 'No More Heroes' it is another Britpop classic with its fiery guitars and slightly arrogant vocals.

They were in trouble again with '2.1', as it appeared to be a rip-off of 'Being Sucked In Again' by Wire. Nonetheless, it is one of the album's highlights with another great riff although perhaps not quite the commercial impact of 'Waking Up' or 'Connection'.

As the album draws to a close, we have one of the finest songs about petroleum jelly in 'Vaseline', before were are thrust into another new-wave flashback with 'Never Here'. The album's finishes with a bang with 'Stutter', which was their first release in 1993. Only 1500 of the limited-edition vinyl sets were released and are worth an absolute fortune now? Another short power-packed song, it marks the end of a superb album.

The album received rave reviews, although there are a few tracks in the middle which aren't quite up to the same standard as the rest. Many might find the shortness of the tracks a little frustrating, although I think that this is definitely a bonus. Unlike many bands who specialise in playing a minimum number of chorus in each track, Elastica manage to cut the songs before they get boring and self-indulgent, meaning that you get quality rather than quantity.

Another criticism that has been placed on the band is that they are retrospective rather than progressive. However, I think that Justine Frischmann's charisma and unique singing voice means that Elastica take the early 1980's guitar-pop style in a new direction rather than merely ape it.

Sadly, the band spiralled into arguments and drug addiction and their comeback album a few years ago was poorly received. After the split of her band and her relationship with Albarn ended, Frischmann has been out of the limelight for some time now. However, whilst it may have been the pressure on the band or maybe just the ideas drying up quicker than expected that caused the band to split, Elastica still managed to create a significant part of Britpop's history with this fine album.