Supervision
Grammy-winning and BRIT and Mercury-Prize-nominated artist La Roux returns with her first new album since 2014's 'Trouble In Paradise'. From the cover to the contents, this is unequivocally the album Elly Jackson always wanted to make - a claim that with some artists might ring alarm bells, but in this instance simply means that 'Supervision' sounds precisely, unmistakably, gloriously like La Roux. Nevertheless, it’s full of the kinds of flourishes that have always made her music stand out, with eight deep cuts of melodic electro-pop brilliance.
Elly Jackson hits the reset button with 'Supervision', the '80s inflected follow-up to her 2014 release 'Trouble in Paradise'
Elly Jackson remains a singular voice, but there's something missing from Supervision
La Roux is probably still sick of people harping on about In For The Kill, or Bulletproof, her intoxicating, singles that rung out from stickyfloored nightclubs in every student town for months in 2009.
Largely inoffensive and wholly listenable. Which is fine, but we’ve come to expect more from La Roux.
Compared to the luscious textures of 2014’s ‘Trouble in Paradise’, Elly Jackson’s latest work feels rather lacklustre
More than a decade into La Roux's career, Supervision is the first album created entirely by the project's founder, Elly Jackson.
Elly Jackson's third studio album Supervision sorely fails to live up to the standard of her previous records.
La Roux goes back to basics on a stripped back album that pinpoints its formula to the point of resolute repetition. ‘Supervision’ was written
With the charts full of TikTok bait, La Roux – returning after five years – keeps the pop flavours vintage on her third album Supervision.
La Roux's 'Supervision' is a testament to propelling forward, even if its sounds take you backward, and knowing that good synthpop will never go out of style.
<strong>(Supercolour Records)</strong> <br>Her second release as a solo artist sees 80s pop muted though Elly Jackson’s idiosyncratic and unique sound palette
Key 21st century British synth-pop doyen investigates frothy electro-disco to disappointing effect. Review by Thomas H Green.