The problem with UK twee pop group Allo Darlin’s debut album isn’t its lack of effort nor its intentions. The problem with this album is its inability to utilize its obvious connections with 60’s dance pop. Lyrically, Elizabeth Morris tries to slam so many words into each song that any room for a decent and memorable hook becomes lost in translation. It also doesn’t help that she doesn’t seem to quite grasp the definition of symmetry in pop music. If Allo Darlin’s goal is to make genuinely catchy tunes, then perhaps they should make more an effort to stop attempting to be cutesy and start paying attention to the verse/chorus/verse formula for any great pop song.

They should also realize that everything they’re doing is being done with more emotion and more originality by Camera Obscura, who have more range and don’t rely so heavily on relating to the listener through boring and contrived stories about “dancing on my own to a record that I do not own”. Though the musicianship is solid and the bouncy nature of each song is commendable, this debut record falls flat and just leaves the consumer
feeling soulless, waiting for a peak that simply doesn’t appear.

If you appreciate this 60’s euro pop sound, you’d be better off delving back into your record collection and pulling out your Clientele and Belle and Sebastian albums. It’s an unfortunate reality, as it’s painfully obvious that Allo Darlin could have easily made a better record but instead decided to be clever; a band personality trait that they simply cannot pull off.

Though Allo Darlin’s pop sensibilities are prevalent throughout their debut album, their ability to craft lasting hooks and meaningful wordplay are not; the result of which leaves the listener unsure as to whether or not the band is actively trying to contribute to retro-pop music or remain content as fans of the genre who are trying to make the adults notice them from the children’s table.