The Like – Release Me

Wed 15th Sep, 2010 in Music Reviews

Much has changed since The Like was formed by three teenaged daughters of music industry types (Geffen A&R executive/producer Tony Berg, producer Mitchell Froom and drummer Pete Thomas) some ten years ago. Back then Elizabeth “Z” Berg, Charloote Froom and Tennessee Thomas were only 15 and 16 and deeply immersed in “classic” rock – influences that came to the fore on their 2005 debut Are You Thinking What I’m Thinking.

It’s not a great album, although there’s a very strong sense of the key personalities coming through in the songs, conveyed through grungy guitars, vocal harmonies and lyrics that speak to a definite sense of independence and assuredness among the members of the band. And the promo shots continue in this vein, with the girls lounging about some grand Californian house in outfits that are clearly their own, and fit with the relaxed, Hollywood Hills atmosphere of the piece.

Fast-forward to 2010’s Release Me, and the three-piece has become four, with Froom leaving and Laena Geronimo and Annie Monroe joining on bass and keys. But there have been fundamental changes made to both the ‘look’ and the sound, both (it’s safe to say) a result of working with super-producer Mark Ronson. Gone are the West Coast girls with their relaxed tops and jeans, and in their stead are black-and-white miniskirts and all-black ensembles. And although it’s certainly a “classic” sound, we’re now reminded of 60s girl groups and Swinging London rather than driving along the coast towards Los Angeles.

That isn’t to say it’s a bad change, necessarily. Certainly it’s a more unified package, one that would be infinitely more marketable and approachable in this modern world. Rather than being presented with an album and actually having to listen to it to know what it’s all about, you can give the cover art the once-over and be reasonably confident of guessing the general gist of it. To a certain extent most album artwork attempts to do the same thing, it’s just the contrast with the first album is quite pronounced. I’m always very sensitive to bands “rebranding”, as if often seems to me as though they are compromising their values and tastes to sell albums.

“But what of the tunes?” I hear you ask. Well, it’s insanely catchy and full of energy, with handclaps, harmonies and a thick layer of 60s guitar and organ laid over the top of almost every track. And that fierce sense of independence has survived from the first album, something we can attribute to Z (as the songwriter) and her general awesomeness. I defy you to listen to songs like He’s Not A Boy, Catch Me If You Can or Release Me and not sing along, or to listen to any of the tracks here and not want to clap in time. It’s all very upbeat, and very well put together. And, as can be expected from Ronson, it’s incredibly tight. There’s scarcely a handclap or high-hat out of place.

But what of the crucial question? Have The Like changed their entire aesthetic to sell more albums? Is this a calculated attempt to release a cookie-cutter album full of easy-to-listen-to, Supremes-aping songs that can be played on the radio?

Well, I don’t think so. Aside from the fact that Z wrote every song and a friend made those matching dresses on the cover, there is a real sense of self that comes through the songs. There’s some real depth behind the pop melodies – darkness, regret, jealousy, anger – despite the fact it’s covered in shiny, poppy gloss.

So go on! Have a listen. You may indeed like The Like.