After a two-year hiatus, singer and songwriter EnglanE has returned with her latest single “Flinch”.

 

First though, let’s start with that name. I initially thought it was some sort of play on England (it baring all the same letters bar one), her name was Elaine and she was ham-fistedly forcing some patriotism into her Frankenstein’s moniker. However, the crudeness of the name doesn’t match the talent and vision of the music, so to my relief this is explained on her website. It spells her name phonetically, thanks fuck: “ing-lar-knee” and it’s actually her birth name. Sorry Mr. and Mrs. EnglanE senior.11805734_576801912458541_2114729609_n

 

Now that’s cleared up, the song: A distortion-drenched sultry howl, the influences of Sub Pop main lined into one arm and Creation Records into the other.

 

The guitar’s thick chugging starts the song. The chirping noise of her fingers moving up and down the fretboard, being the only delicate aspect the song will afford you. EnglanE draws the listener in with her quiet vocal line. Then, as expected, the chorus explodes, detonated by drums and unrestrained guitar.

 

The drums are stripped back and devoid of metronomic time keeping, the thunderous bass drum and floor tom, the lighting shimmer of the cymbals and staggering a snare drum. Sonically influenced by Jesus and The Mary Chain and the like, owing as they all do, to Maureen Tucker of The Velvet Underground. The long held vocal notes and drums work wonderfully together. Anger and wanton destruction owes a lot shouting until your vocal chords shatter and hitting things until they break.

 

The formula repeats, ABABAB. Each time around something new is added, subtle nuances here and there. The vocals develop and a feeling of syrupy femininity becomes more and more palpable. The song cuts out, a Breeder-ish humming is followed by silence and the noisy cafuffling of a guitar being plugged in, which so perfectly draws you back in, as the last chorus goes for broke.

 

At just over two minutes and 30 seconds, it’s at perfect length, not being dragged out to monotony, but long enough to leave you wanting more. This track shows a strong return, her hiatus clearly being used wisely. It is a perfect example of a marriage between EnglanE’s boisterous yet sensual songwriting and a deft use of production. If she can follow this up with more material of this calibre she will certainly have a wide and captivated audience waiting for her.

Written by Murfy

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