Little Boots - Hands

Barbie just got another little sister. Europop Vicky is one sassy chick that knows how to sing.

Well, Victoria Hesketh, aka Little Boots, may not be quite as plastic as Barbie, but her music is certainly doll-like. Flawlessly constructed, shiny and made to meet social expectations, debut album Hands feels straight off the production line.

The album opens with “New In Town,” and although the song title may not be instantly recognizable, it’s in the Lincoln car commercial that doesn’t use Phoenix. The track goes on the attack, digging at the seedy side of L.A. while maintaining an ultra-danceable sound.

The production fills every open space with glossy synths, exemplified on “Earthquake” and “Ghost.” By the middle of the album, this polish begins to grate. Each song makes for a fantastic dance track, but when put together, they lose their individuality.

Madonna’s influence pervades Hands, particularly noticeable on “Click” and “Mathematics.” The throwback sound works well, and Little Boots pulls it off while making it relevant to her more modern style. “Symmetry,” which features jarring backing vocals by Philip Oakey, falls far short of the ’80s pop glory that the other two songs achieve.

As expected from an album evocative of Barbie, Hands is, for the most part, lacking in cerebral material. The lyrics are often clever but frequently become repetitive.

The best song on Hands is both the titular and, oddly enough, hidden track. “Hands” is stuck on the end of “No Brakes,” and is the only real narrative track on the album. The acoustic sound brings fresh life to the by-then stale electronic formula, and Hesketh’s vocals shine.

Hands still smells faintly of plastic, but underneath the porcelain perfection there lies a real girl waiting to escape.