Woman’s Hour are named after a topical radio show, pay tribute to a 1973 performance piece to promote their album’s lead single, and use visuals in collaboration with TATE and MOMA. With these arty pretensions, you’d expect this UK four-piece might crank out some pretty experimental art-rock. But, if anything, Conversations could be criticised for playing it a little too safe.
The group’s phlegmatic fusion of yacht rock and dream pop sits comfortably between The XX and Beach House, and is likely to appeal to both camps. Its eleven tracks form an intimate journey, with singer Fiona Burgess’ lyrics speaking of “awkward moments of strange affection,” and offering shared secrets at close quarters. Her vocals and lyrics expose a sighing submissiveness, offering up stories of innocence and forgiveness, with just a hint of heartbreak. At times it lacks bite – as on the one-note Our Love Has No Rhythm – and its smooth production only adds to the feeling that the potential for something darker and deeper has been glossed over. But, for the album’s tantalising first half at least, Woman’s Hour command attention with this soulful, immediate exercise in minimalism.
BY CHRIS GIRDLER
Best Track: Darkest Place
If You Like These, You’ll Like This: XX THE XX, Woman RHYE, Stronger than Pride SADE
In A Word: Soul-soothing
