‘Paint It Gold’ is the second album from London’s ELENA. Don’t be fooled by the ‘rock-chick,’ tag she has on occasion been predictably labelled with. On the evidence of this album, she has more in her locker than the preconceived impression that title suggests.
The album swings between the poles of rock-pop and rock-ballad but also incorporates several bluesy, soulful moments. Album opener ‘Song For You’ is not, in my opinion, representative of the album so don’t make a judgement too early! At half the length of virtually all the other tracks, it is like a prologue track, but although pleasant enough it has a distinctive mournful sound and is more downbeat than the remaining thirty-seven minutes.
Some tracks have a definite familiarity about them and ‘Pink Punk’ is a case in point. For the life of me I cannot put my finger on the song it reminds me of, however it’s easy to understand why it is the current single though (November 2008) as it has a more commercial, bouncy feel about it.
‘Chains’ on the other hand is slower and darker with the slightly fuzzed-up backing complimenting Elena’s naturally rasping yet sultry vocals. It’s a very atmospheric song with a steady, catchy beat and is one of a couple of tracks on the album that remind me of Coldplay. Probably my favourite track.
‘Waiting To Meet You,’ is heavily piano-based and starts like some Guns and Roses track ends. I’m no expert on G’n’R so can’t say what one, but see what I mean about the ‘familiar’ sound? There is no song on the album that can be accused of being a copy-cat track, but several do just kind of nip at your brain, smile and ask: “Remember me?”
Title track ‘Paint It Gold’ is one of those with a hooky chorus that will have the listener singing along and also features some nice guitar work. This song would be a hit in various parts of America as there are shades of Kelly Clarkson sounding pop–rock. It’s that sort of driving rock that’s so popular. (This is meant as a compliment and not intended to insult!)
‘Fantastic Machine’ has a deep and dirty riff running through it. Elena’s normal rasping vocal is exchanged for a more threatening growl. ‘Close My Eyes’ has an ‘album-filler,’ feel about it – an OK-ish track with a blues-based guitar solo, but other than that, nothing really as memorable as the other tracks.
‘In The Darkness’ has a slow build-up. Rising to a crashing peak before dropping back down again, and repeating. This is another track with a Coldplay feel to it, and one that is likely to be a big live favourite. ‘Pretty When You Smile’ is very different to everything else on the album. It has a haunting synth playing away in the background and the beat is generally faster. Elena’s vocals have a lighter sound and the overall impression is of a new wave song! The chorus and synth combination definitely prompt thoughts of Tubeway Army – strange, I know. Good though!
The album closes with a version of the Kim Carnes hit ‘Bette Davis Eyes,’ which has long since been one of my least favourite songs. Ever. So I will restrict my comments to say that Elena’s vocal style is tailor-made for this track.
I can see why Elena is attracting much positive reaction but am left with the feeling that this is a safe album and that she has far more to offer with a little bit of risk-taking. Perhaps adopt a harder edge, or more down the lines of the penultimate track?