The latest fragile voice to contrast Scandinavian glumness with a thumping four-to-the-floor beat, Sally Shapiro is following in footsteps left in the snow by artists such as ABBA, The Cardigans and Bertine Zetlitz. Her debut, Disco Romance, is no surprise in this respect, being an album of plaintive synth-pop marked out by barely-there vocals that have invited liberal comparison to Annie, pop-bloggers’ hot tip of 2004.
Unlike the cute but resolutely individualistic Annie, however, Shapiro’s music is much easier to peg within a wider movement: Italo-disco. This micro-genre brought us, at one end, Italian producer Giorgio Moroder’s peerless experimentations with European proto-dance music with Sparks, Donna Summer and even The Three Degrees, and ‘Boys Boys Boys (Summertime Love)’ at the other. Disco Romance is, fortunately, closer to Italo-disco’s beginnings than its end: pop music that manages to be both sweet and synthetic without ever being saccharine.
Opener ‘I’ll Be Your Side’ sets the scene with its icy, almost menacing electronic backing offset by Shapiro’s delicately balanced vocals. The muted hi-NRG beat and sprinkling of vocoder strongly recalls Giorgio Moroder’s early work. ‘Time To Let Go’ flirts with Euro pretension with a French spoken-word intro before ripping its backing straight out of Visage’s back catalogue, though once again the vocals are calculated to charm rather than unsettle. ‘Anorak Christmas’, a title that could have been stolen straight from a Saint Etienne album, also borrows heavily from the lexicon of synth-pop, yet does so without feeling secondhand, while ‘I Know’ could be fellow Scandinavians Röyksopp having donned their dancing shoes.
As an album which nods so wholeheartedly to a genre’s past and encompasses so many direct references to its contemporaries, Disco Romance could never be described as groundbreaking. Its ability to synthesise so many different voices in the course of just over half a dozen songs in a way that never appears crowded or contrived is, however, still impressive. The fact it numbers just seven original compositions padded out with remixes is less praiseworthy. While a glut of US-style bonus tracks tacked on to the end of the album would be unwelcome, the overall package does feel thinner than it should. Furthermore, although much is made of Shapiro’s crippling shyness (she refuses to perform live) in publicity material, as a physical body of work Disco Romance begs the question of whether she is a tortured artist or just plain idle.
Work ethic gripes notwithstanding, Disco Romance remains an accomplished example of contemporary pop music that shows European miserabilism can still hold its own on the dancefloor against the onslaught of American booty shaking tunes. The fire-and-ice binary opposition of Scandiavian pop music may be a cliché, but this record shows that it — like many other well-worn phrases — contains a lot of truth.
[Klein; October 30, 2007]