Louise Aubrie begins her album with a stroke of rock, a guitar and percussion driven punk-spirited track, aptly titled “Masterstroke”. The track doesn’t shy away from proclamations of love, but embraces the feeling with a sharp edge. An excellent start to an album pushing the limits of female driven indie-pop.
Aubrie was born in London and has embraced the musical history of the place, recording this album at Abbey Road Studios and drawing upon artists who have worked with some of the people who forged England its musical history, including Adam Ant and Morrissey. Thematically, Late 44 seems to draw upon these influences, delving into the darkness while never losing an anthemic edge, such as on “Tearjerker” and “Kiss of Life”. Splitting time between England and New York City, the indie-punk spirit of the songs (especially notable in “Too Late”) has been developed in the movement’s dual hearts, which explains the clear authenticity.
It isn’t only the highly intelligent lyrics and melodies (listen to “Candlelight” for proof of this) that seep from this album that put it on the indie-pop-punk map, but Louise Aubrey’s voice, at once lovely and dangerous, becomes a focal point. She strays off the near clichéd path of the delicate female vocalist and makes sure her own personality is present in every “ooh”, every “ah”. “Next To Nothing” is an especially vocal-driven track that showcases Aubrie’s multiple talents with a carefully crafted grace. As “Please Don’t Touch Me” proves in its angry and powerful atmosphere, this is no musician to mess with.
Late 44 is Louise Aubrie’s third album, following Fingers Crossed… and Time Honoured Alibi, which were produced with the same team — a wise choice based on the international attention that has been collecting, ready to spill over. Late 44 was released on July 13th. To keep up with Louise Aubrey, check out her Facebook, Website, and SoundCloud page.