Artistic perfection is a strange conundrum. Even in works of true brilliance, the beauty is often in the flaws. Conversations, the debut album from Woman’s Hour, is a case in point. With it, they have achieved the ideal balance: the perfect imperfection. It is truly an outstanding record.
The English four-piece have insisted they have no direct influences. One could make comparisons to Ladytron, Kraftwerk, Grimes, and any number of others. But that would be to ignore the fact that Woman’s Hour have their own, distinctive sound: a lo-fi, dreamy brand of pop. Luxurious synths are layered with guitars; the band doesn’t shy away from a good beat either. They are versatile too. ‘In Stillness We Remain’ is a genuine toe-tapper; ‘Two Sides of You’ a stripped-down lament. Much of the rest of the album traverses the gap between the two.
Musically, the album could scarcely be a tighter, glossier affair. The album was over two years in the making, time that was clearly spent tweaking every note. Is it too perfect? Enter Fiona Burgess. Floating with fragility, her voice is arresting and the shine emitting from the polished melodies is offset by a delivery so authentic and honest it’s impossible not to be drawn into the emotion. Songs so carefully crafted they could belong in a museum become instantly accessible.
There is no filler, no moment where the standard drops. From start to finish, the record shimmers with energy and immediacy, and repeated listens only reveal more reasons to label this an instant classic.
Conversations is a thrilling debut.
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