Not Dirty Enough
On her first solo album Madelin Zero offers adequate electro-pop, and sadly nothing more. Dirty Purple is unremarkable â€šÃ„Ã¬ the kind of background music played throughout SoHo boutiques, and then never again until Techno Babes Volume Seventeen becomes available only through this special TV offer. â€šÃ„ÃºIn the Morningâ€šÃ„Ã¹ is a higher point on the album, sounding reminiscent of early Har Mar Superstar. But the kittenish vocals Madelin Zero employs on most of the tracks arenâ€šÃ„Ã´t enough to pique any interest. Her sound is a little too stripped down, like trying to put in a sunroof and instead demolishing the top half of the car.
Madelin Zero is definitely more capable than a cheerleader with a Casio, but the energy is forced. Adequacy and simplicity arenâ€šÃ„Ã´t enough to make a truly good electro-pop album. Producer Bill Hamel steps in on â€šÃ„ÃºAnything Perfect,â€šÃ„Ã¹ but the track still falls short of inspired. Rather than slow and melodic, itâ€šÃ„Ã´s simply boring. Understatement definitely has a place in pop music, but listeners shouldnâ€šÃ„Ã´t have to circle aimlessly.
Not until the very last track on the album – â€šÃ„ÃºDirty Purpleâ€šÃ„Ã¹ – does Madelin Zero present a unique sound. The song is immediately catchy, and complements her sugary vocals. Itâ€šÃ„Ã´s unfortunately too little, too late â€šÃ„Ã¬ and most listeners will have bailed before even getting to this track.
At the very least Madelin Zero should get points for her bravery in releasing B sides at the beginning of her solo career. Keep an eye out for future releases from this songwriter, and in the meantime check the Incredible Moses Leroy or the Postal Service for groups who have perfected this art form.