Four long years since their full-length debut ÔÇÿThe FoolÔÇÖ, Warpaint open their self-titled follow up with an apology. Seconds into ‘Intro’, drummer Stella Mogwaza makes a minor error, drawing attention to it with a scream and a ÔÇ£sorryÔÇØ, then shrugs it off and begins an impressive percussive performance, setting the tones for band and album. ÔÇÿIntroÔÇÖ has a rollicking drive and guitars that weigh ambience and unease, clearly intending to establish the theme to come; but this momentum is lost on ÔÇÿKeep It HealthyÔÇÖ, an exercise in Celtic harmonies that evokes Sinead OÔÇÖConnorÔÇÖs vocals but none of her ballsiness.
With single ÔÇÿLove is To DieÔÇÖ though, a stride is established in tune to MogwazaÔÇÖs drum. The heavy-washed, fragile voice and staccato guitar ally with her to remind one of Massive Attack.┬á On ÔÇÿHiÔÇÖ and ÔÇÿBiggyÔÇÖ, as the electronics are ramped up Warpaint begin to bizarrely sound like darlings of the Bristol trip-hop scene, the former track crying out for a Tricky guest verse to add grit and sheer, surreal hilarity (remember his guest appearance with Beyonc├® during her Glastonbury headline slot? Yes, it happened).
As a final reference point for their cap, chief engineer Nigel Godrich gifts the same Eastern flavours to ÔÇÿDisco/VeryÔÇÖ as he did RadioheadÔÇÖs ÔÇÿParanoid AndroidÔÇÖ. As good as it feels to smugly recognise a producerÔÇÖs trademark, it doesnÔÇÖt match up with the echoing OÔÇÖConnor bent singer Emily Kokal has put on her voice for this record. Similarly, GodrichÔÇÖs typically ÔÇÿdenseÔÇÖ finish seems at moments, such as on ÔÇÿFeeling AlrightÔÇÖ, as if he is over-treating a track that didnÔÇÖt merit inclusion. Ultimately, this album has been too heavily washed, and seems to have shrunk in stature as a result.