Jennylee Right On! review

Image: Jennylee 

Setting out to record a song a day over ten days can only go two ways: it either actually never happens, or as is the case for Warpaint's talismanic bass wielder Jenny Lee Lindberg, it spirals beyond ten days into a solo album and tour.

The catalyst to this record seems to be an urge to to explore herself as a musician and wriggle away from the dreamy constraints of Warpaint.

For the most part the freedom from those boundaries sees Jenny head into an edgy and expansive post-punk territory with a tang of eighties grunge. 

Right On! strikes more as a personal scoping of Jennylee's creative capabilities and a longing to engage in a discordant experimentation of sounds, rather than the planting of a seed to grow alongside her band duties. 

Ultimately that is what achieved. Jenny's bass parts are expectedly more profound, though layered tastefully to avoid the record being over-saturated by a cacophony of noise. Her gloomy vocal that croons over lost love and anxiety smokes through the albums languid grooves.

Where it lacks cohesiveness, the record blossoms with subtle eclecticism amongst its murky feel. Lead single 'never' thrusts infectiously  with a harbouring of psychedelia and 'boom boom' slings a torpid punk rhythm to form the album's most impressionable joint.

'he sense' simmers the tone of the album with snapping claps and lilting strings that ooze tranquility to mirror Jenny's vocal. 'offerings' is densely formed with band mate Stella Mozgawa harnessed in to accentuate the albums electronic percussion with live drums and mark its most danceable outpost.

Where creativity is concerned, Jennylee possesses it into the abundance, more so on the records most left-field turn 'White Devil' which plays out like a satanic ritual.

It bolsters the intrigue surrounding the side-project which is cooly executed and shows a daring and visionary side to the Warpaint musician. 

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