Illicit Eve
2008 LP Into the Woods
Reviewed by Dobbie Glasson
19th June 2008
Producing one of the best, most solid pop/rock releases to come out of Adelaide for quite some time, Illicit Eve have been rocking and recording to present their second album, ‘Into The Woods’. This album is full of big guitars, sultry vocals and intelligent song writing that welcomes Illicit Eve back from their 2005 debut ‘Element Eleven’. Emily Smart (lead vocals and guitar) and Fliss Freeman (bass guitar and vocals) are Illicit Eve, and what a stylish, modern rock duo they are.
Opening track, ‘The Sound’, starts with a spine-tingling guitar solo before breaking into mind numbing bass making the furious sound that is Illicit Eve. With catchy riffs throughout and a change to make any song, ‘The Sound’ is layered beautifully with plenty of guitars and biting vocals, making this one of the best songs on the album.
‘Shark Bait’ is full of groove, shiny lead guitar and gorgeous vocals (spiced up here and there with electric effects). This song is lyrically well written and vocally strong. What REALLY makes this song so strong and groovy is the big, funky bass walking all over the fretboard. A very powerful pop song indeed.
Next is their single, ‘They Don’t Make Boys Like They Used To’, and what a good choice it is. ‘They Don’t Make Boys…’ is a solid rock tune. Rich with a solid guitar riff, bass and drums humming over in the background, but more interestingly, overflowing with plush harmonies. A great example of both voices creating a unique and refreshing sound, ala ‘Sleater-Kinney’, which is quite a compliment.
The album’s title track ‘Into The Woods’ is packed with a great riff on multiple guitars (both clean and dirty), the bass is also very gripping, with tight drums and a chorus so striking to make ‘Into The Woods’ a haunting little number.
Again, with plenty to mix ‘Beautiful Creatures’ is a well mixed song. From the rhythmic guitar to the again, busy walking bass. But it’s the high pitched vocals with breathtaking lyrics to the slower beat that makes ‘Beautiful Creatures’ just a beautiful song and a contrasting cut compared to the rest of the album.
Back with grunge guitars is ‘Two Tired Hands’. Grand, rolling drums are accompanied with rock-solid bass holding up huge melodic harmonies. So prosperous with synchronisation, both relentless vocals again, making this song a big stand out.
The drums and guitar with opposing bass converge with edgy melodious lyrics making ‘11:11’ sound like a short disco song. With vocals whaling and hi-hats purring with the bassline and added samples, and a change so deep and drowning of any other pop tune on this album.
This time Fliss Freeman’s at vocals and with a lower velvety tone at that, she pulls off every cold verse and big chorus. Between the good samples used on this song, ‘The Coldest Winter’ has such an imaginative beat, with an ambient quality mixed with its industrial feel and icy lyrics.
The effect of reversed guitars begins ‘Shadows’. With demanding, pendulous guitars and intriguing bass all caught up in the continuing, overcoming drums to make this track another solid alternative-sounding composition with exceptionally well balanced vocals during the exhilarating choruses.
‘Into The Woods’ ends with the unearthly sounding ‘Heavy Lung’, with great use of samples and keys the song develops into an industrious, soulful, intelligent piece of music; to the beautifully recorded vocals with picturesque words and melody to suit to the big saxophone solo making ‘Heavy Lung’ a harmonious conclusion to the album.
And there it is, Illicit Eve, who over the years have been expanding creatively, intellectually and melodically. Dramatic, big rhythmic rock to delicate punch pop all in one makes ‘Into The Woods’ an album definitely worth listening to, and cements Illicit Eve as Adelaide’s premiere girl fronted band.
