By Derek Baker, July 16 2015 —
Gone are the days when British electro-pop singer Victoria Hekseth, better known as Little Boots, had to work under the cookie cutters of the big label pop music industry.
Little Boots released her third album — aptly titled Working Girl — on her own label, On Repeat Records. The album explores Hesketh’s pursuit of success and struggles in a male-dominated music industry, expanding on the themes presented on last year’s Business Pleasure EP.
The album takes from early ‘90s deep house, modern pop and disco. Clad in a pastel power suit, Hekseth effortlessly layers synthesizers over drum machine loops to create simple, infectious tracks.
Working Girl begins with a cheeky recording on an automated voice messaging system, immersing listeners into the corporate-themed album from the start.
Working Girl continues with a set of songs previously released on Business Pleasure late last year. This is disappointing for fans expecting new material and feels like filler in an already sparse album.
Tracks in the middle of the album, like the dreamy “The Game” offer pleasant but forgettable electronic grooves.
Working Girl’s penultimate track, “Paradise,” is one of the album’s catchiest songs. While the lyrics in the song lack depth, it doesn’t matter. This track will stay in your head for weeks.
The album closes out with the single “Better in the Morning,” a synth-filled ode to hangovers after a night out. Catchy and carefree, the track ends the album on a high note.
Working Girl is a solid record, but it contains too much filler. But fans who have followed Hasketh since her departure from the 679/Atlantic record label will be satisfied by the impressive departure from her old label, and fans of electro-house music will be intrigued by her daring pop.