Frankie Rose—HILA

The album opens with "Olo" and I was immediately taken by the production, which instantly reminded me of the 70s band Renaissance. It's very much electronic, but rather than outright synth pop, it is that careful fusion of electronics and vocals which, when done right, you can't help but be captivated by.

Stepping into more conventional electro pop, "Can't Be Wrong" still manages to not fully commit, resulting in a much more chill feel, and it's all the better for it.

Subtle influences of bands like Depeche Mode and Ultravox can be heard in "Return to Dust", which takes those influences as ingredients and brings them bang up to date. Overall, a nice song, but very much part of the supporting cast.

As soon as "Shadow Twin" started, my ears pricked up. That synth sound evokes so many memories, but also serves as an invitation, a beckoning finger, and I didn't need much prompting. With hints of Vangelis, it's very much an immersive sound, and one I found so easy to get lost in.

It's hard to see "Rainman" and not think of Dustin Hoffman's performance, which unfortunately is one of the main problems with word association. Fortunately, though, these mental gymnastics are fleeting, as you're soothed by the airy, floating music. It's like you're being suspended in the skies, watching lightning illuminate the clouds. It runs for nearly three and a half minutes, but part of me wants to stay there for much longer.

The title track, "Hila", opens with what sounds like an electronic cello, adding mood and gravitas, but this begins to soften as the track proceeds, especially when the vocals come in. Again, there's that feeling of floating, or rather being suspended, filled with serenity, with no feeling of being rushed.

There's a feeling of listening to a soundtrack in "Manifest". It opens with that sense of a dystopian future and then eases into something a little more conventional. For me though, not one of my favourite tracks.

And the 80s are very much back with "Best of Times" and its fusion of keyboards and saxophone. Again, it's not one of my favourites, as I think I prefer the more electronic, ambient side of Frankie's work, but I can appreciate it for what it is.

Similarly with "TV Star", which is very much a good track, but doesn't quite manage to click with me.

The album closes with "Velvet Refrain", and it feels very much like a track that knows its role and performs it exceptionally well. It has a great pace and again has that soundtrack quality, used to attach itself to a scene and provide some kind of closure.

I have to admit that throughout the album, the vocals were somewhat obfuscated. They had a nice tone and lilt, but for the most part I couldn't make them out clearly. However, this didn't stop me from enjoying the music.

This, for me, is very much an album to get lost in. There were a few tracks that I wasn't able to form a bond with in the same way I was able to with others, but I think that's part and parcel of a release. Some songs will take time to grow, and sometimes time is needed for all the pieces to fall into place.

The key question is, is there something there that compels you to want to return to it? And for me, the answer is more definitely yes.