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Rose Keeler-Schaffeler has been making music for so long that I had to check that this was her debut album. It is. On it she's put together 18 of her lo-fi pop miniatures for your lucky ears. It can take a couple of tracks to settle in as you get used to the foggy vocals and spluttering guitar trails, it's somehow both tinny and discordant and really epic and expansive, with blazing sheets of distorted guitar and vocals which tend either to be reverbed for blurry dreaminess or else distorted and fucked with until you can't really tell what she's singing.
There's a lot of variety too, though. Clint has previously described her as "taking over the space vacated when Best Coast went off the boil", which on one hand is fair because her music is persistently melodic and wistful but he overlooks the amount of fun and creativity Keeler-Schaffeler exhibits on the recording front, from rinky-dink drum machine sounds to live drums, weird synths that wobble and chime, tape hiss and charmingly self-sabotaging distortion.
It's such a distinctive kind of submerged power-pop aesthetic that when we get to 'Whatever (Hot Sugar Remix)', the crispness and clarity of the electronic beats seem weird and jarring against the context of her expertly-manipulated lo-fi analogue dirt. There's lots of songs here and they whiz by in a frenzy and I wish I had a chance to listen to it more than once before giving my definitive opinion about it, but sadly I have a pile of 20 records here waiting for me to say what they sound like.
This is genuinely good though, dreamy and noisy and human, I would listen to it for fun.
7/10 Rob Gannon 23rd March 2014
"Steve Albini once wrote a letter to Nirvana that said "Making punk records is definitely a case where more "work" does not imply a better end result" and that "if a record's taking more than a week to make, somebody's fucking up". Keel Her nails this ethos precisely despite her LP being very much a record of two halves." For the full review see: http://www.sicmagazine.net/7319/keel-her-keel-her
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