There has been a fair amount of hype building up in the lead up to Alison Wonderland‘s debut album Run over the past year, mainly due to the buzz surrounding her frenetic live shows – and then she made the jump to sign to EMI Music Australia. The Aussie DJ has shown that she has more than enough promise within her to really make an impact on the electronic music community, so how does her debut album hold out against the rest? If the truth be told, not very well. But first let us look at the positives on this album.
Firstly, the greatest strength that favours Run all the way through, is the consistency within the production. The production is solid, and hugely complimentary to Alison Wonderland‘s overall sound. It is that of the compression-heavy production that we have come to familiarise ourselves with over the years in terms of electronic music. But if we need a reference point when it comes to the production techniques – think Flosstradamus meets Purity Ring, and you will have a decent idea of what to expect in sonic terms.
Secondly, the handful of songs that are worthy of further investigation are actually incredible electronic belters. Take the Wayne Coyne (Flaming Lips) featured tune ‘U Don’t Know‘, the dreamy future-pop sound of ‘Games‘, and the hazy rhythms of ‘Already Gone’ featuring Brave & Lido – a great closing song to the album. These are some of the more notable tunes on this album, that contain a little more substance within the songwriting process.
However those were really the only greater points that can be taken from this album. Whilst Run is not a bad album by any means, it is saturated with repetition, unoriginality, and mediocrity. Both in the production and songwriting aspects, there is very little variety for the listener, and often proves itself to be a one trick pony. This is more so highlighted with the predictable song structures and instrumentation, which you just know which direction it is heading and how it is going to sound.
Ultimately there really can’t be anything to warrant Run as a true contender for any electronic album lists of 2015, neither can it really be slated as being in the worst of lists. It is just firmly in the middle, and because of this failure to deliver a crushing impact it sadly does stand out as one of the most frustratingly biggest disappointments of 2015. Which is a shame, because Alison Wonderland is capable of so much more. Let’s just hope that she finds her feet and understands her worth when it comes around to her sophomore album.