The 60s are no longer part of the Frankie Rose sound: attitude and jangle, Girl bands and tambourines are all history – forget about it already. We’re at the 80s where Marr picked his crystal-clear guitars and New Order pushed synth buttons for their cool-edged pop. This has a touch of New Wave glossed with Rose’s silky smooth smile and a run of synths and compressed drum units. It also shimmers in a reflection of unashamed popness.

Tracks like Pair of Wings electronically swoon across the musician’s vocal, inviting keys and synth strings paint a serene backdrop in which Rose and her ethereal harmonies can swim. Know Me is The Smiths or early The The caught in the dreams of the swooning singer.

Yet as the record goes on you do start to worry that if this careless love for 80s pop and passive electronics continue the whole set might end up floating away in a cluster of pretty day-dreams. The shift in sound seems to pacify Rose’s songs somewhat, meaning we don’t always get affected by them. Tracks like Daylight Sky seem to dance in a circle of ignorant bliss while Apples in the Sun doesn’t really do much at all.

Thankfully the title track provides a storming rhythm and an analogue synthline that takes off into outerspace. The final two tracks in-turn travel downwards to deeper depths with melancholic guitar riffs, voids of reflection and undefined structures – The Fall particularly demonstrating how a few more layers of emotion can compensate for most things

If this was a five track EP Frankie Rose would indeed be going interstellar – instead she’s flying high with plenty of sky left to explore.

-Marnie Reed-