Charlotte Hatherley – New Worlds

In her time since leaving Ash, Charlotte Hatherley has tended to set about the business of releasing music in less than conventional ways; her last record The Deep Blue was released on her own Little Sister imprint and the majority of the promotional period for her third solo album has been spent on multi-instrumentalist duties in Bat For Lashes. Well maybe the fantastical imaginings of Ms. Khan have rubbed off on our Charlotte as while not quite a concept record, there is certainly an overriding sci-fi influence present throughout New Worlds.Opener 'White' is a statement of intent as grungy verses give way to stomping glam choruses, coated in a dreamily woozy sheen and is followed by the tender 'Alexander' which harks back to the sound of the her last record with it's shimmering arpeggios and spacey synth pads before tan about turn that leads to a gonzoid, scattergun outro that hints heavily at the influence of former writing partner Andy Partridge.After the carefree pop of her debut and the dreamlike Deep Blue, New Worlds is Hatherley's most eclectic work to date. 'Straight Lines' for example, is a prime slice of Riot Grrl pop, Charlotte and co harking back to their teenage years and having great fun but is followed by the proggish overly hyper title track on which the myriad elements fail to gel effectively, although 'Full Circle' is more effective in a similar vein, revealing some guilty pleasures with it's mathy riffs and skittish time signatures.'Firebird' is another miss however, featuring plinky plonky keyboards it sounds like a mix between Lily Allen and a camp kitsch soundtrack to a sci-fi sitcom. It's good to hear an artist having creative freedom but this freedom and the ambition and eclecticism means that where New Worlds falls down is in its inconsistency; moments of brilliance, three minutes of pop rock gold are negated by ill thought out genre exercises.'Colours' incorporates some agitated post punk rhythms amid its technicolour pop and 'Wrong Notes' ends a mixed bag of an album on a real high. A simple lovelorn reflection on the creative process that doubles as a metaphor for a turbulent relationship with chiming percussion and a endearingly wonky guitar outro and is a pertinent reminder of how she has improved as a vocalist as she croons “the wrong notes are alright/will you stay by my side?”Despite it's frustratingly fragmented nature, New Worlds is the sound of Hatherly and band kicking back and having fun. Perhaps now there has been enough time since she left Ash that she doesn't feel she has to prove herself and she can relax and concentrate on the tunes. Never predictable, not always consistent but a brave and interesting performer and writer who never needs to fit into a scene or movement to be a good listen.

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