By Liz Belilovskaya

The talented ladies of Warpaint (an LA based all girl band) are back with their second, much anticipated album The Fool. The new melancholy record is the follow-up to their previous self- released EP album Exquisite Corpse. Warpaint received their start after catching the attention of John Frusciante of the Red Hot Chili Pepper fame. He mixed their first album that resulted in the band gaining much needed exposure and a loyal fan base. Signing with a major label and releasing The Fool, the indie rocker ladies further solidified their murky, spacious and melodic style.

Warpaint has a sound similar to a slightly less dissonant Bjork, a dreamier Sonic Youth (circa 1993 “Teen Age Riot”) and the folky style of Milla Jovovich who also collaborated with Frusciante. The raw, organic instruments complement the dreamy vocals that are harmoniously intertwined with the various melodies on the album creating its balanced tone. The ladies employ stripped down musical arrangements that allow the audience to focus in on the elaborate vocals.

The first song “Set Your Arms Down” is distant and meditative. The opening is slow and steady with the vocals leading the hypnotic and somber track. “Warpaint” features choral singing over sturdy musical composition. The layered vocals supply an angelic ambiance but the stronger electric guitar and assertive drumbeats create a textured quality to the track not evident in the previous songs on the album.

“Undertow” is a slower track that features reverbed vocals that deliver powerful lyrics over soft music. The line “Why do you want to blame me for your troubles, Nah uh uh, you better learn your lesson yourself” conveys reprimand as guitars and drums generate an escalating tempo through the end this song. “Undertow” is mildly reminiscent of Franz Ferdinend’s use of compact musical elements that end in crescendo.

The track “Bees” features guitars that slowly rise as the track progresses. The beat settles into a level rhythm that carries the pace of the song towards the end. “Shadows” begins with a grassroots bluesy sound but quickly segues into a Sarah Mclachlan type ballad. The music is stronger in this track than in the ones before it. The drums recall a military style march yet when they subside little acoustic guitar elements shine through.

“Composure” is an interesting tribal-infused track that sounds like it was mixed by MIA. The slow and steady beat gains momentum as the singers belt out “how can I keep my composure?” As the impression of a harsher sound manifests, the song slows down and eventually concludes with a vocal fade out.  “Baby” is a slow track that contains soft backup vocals that serve as garnish to the leading singer. The song has few drum components if any and ends in decrescendo. The melancholy rhythm of “Majesty” is powered by sampling, a device not employed throughout the album. The soft drums and the narrative style of the lyrics provide yet another weary tune.

The last track “Lissie’s Heart Murmur” features a piano as the main instrument for poignant resonance, with vocals and a drum beat that comes in to play later. The simple construction is a nice change from the other tracks.

Warpaint is a creative quartet of very capable musicians who have a bright and promising future. Their unusual musical arrangements are not revolutionary, but the ominous quality of their sound is fresh and different from current popular music. Detached musical arrangements accompanied by mellow and ethereal vocals are prominent in The Fool.  The band is not likely to fade away into obscurity any time soon and anyone who says different risks playing the…

3.5 out of 5

Follow Us on Twitter @ http://twitter.com/planetill

Join Us on the Planet Ill Facebook Group for more discussion

Follow us on Networked Blogs