You may not know the band Woman’s Hour, but you will soon. Its debut LP, “Conversations,” teases the early makings of a beloved indie-pop band.
The English quintet balances tragic lyricism with moody production and differentiates itself from similar bands with its pop-sensible hooks.
Bands like the XX and Beach House have seemingly mastered the dreamy aesthetics of indie pop, especially in their manipulations of female vocals.
Woman’s Hour’s approach to the genre differentiates from those bands in the way its mellow lyrics juxtapose the bouncy choruses that carry them.
Titular track “Conversations” has front woman, Fiona Burgess, delivering lyrics drenched in sadness with such aplomb you’ll almost forget Burgess’ message of lost love.
The four-piece band efficiently balances its roles in stunning fashion. Guitarist William Burgess, Fiona’s brother, takes note of the haunting guitar chords heard from the band’s indie pop brethren and expands on them by crafting buoyant licks.
“Conversations” also benefits from the production on part of producer Tom Morris. Morris employs ambient synths and echoing kicks that add extra oomph in place of the band’s lack of a drummer.
Woman’s Hour’s debut ultimately adds a fresh sound to the growing tedium of the indie pop genre.
A lot of potential exists between the Burgess’ sneakily soft crooning and the spacey noises which pervade every track from the album. “Conversations” may not break much new ground but it lays the groundwork for a potentially massive band.
[A version of this story ran on page 9 on 7/17/2014 under the headline "Dreamy indie pop band Woman’s Hour releases debut LP"]
