La Roux — Supervision — Album Review

Pop | Funk | Electronic

Listen on Spotify | Listen on Apple Music

La Roux’s third album had been a long time coming to say the least, but Supervision is the first release of Elly Jackson’s (La Roux’s) own label Supercolour records. And while this may have been a product of Jackson’s previous label dropping her on New Years, I do feel that an independent label was the right call.

Prior to this third album, I mostly knew of La Roux as an important part of my childhood music catalogue. In other words, her classic hits such as “In For The Kill”, “Bulletproof” and “Fascination” had a tonne of nostalgic value.

But obviously, I had only begun to listen to music critically, long after the release of her self-titled debut album, as well as after her second project, 2014’s Trouble In Paradise, which was an album that I only sort of glossed over at best.

But more than half a decade later, and we now have a project from La roux which truly feels her untainted creation, and a true reflection of her dedication and tenacity. Supervision most certainly feels fully realised, and seems to have enough of a vision behind it to do the title justice.

A good place to begin with this album is just how consistent the musical aesthetic is. In its entirety, Supervision has an incredibly strong sense of electronic funk all the way through.

However, while I can appreciate an album with a lot of consistency, it is so much so in fact, that the individual tracks on this thing rarely sound different enough from each-other, and in doing so, struggle to stand out.

This consistency is indeed a bit of a tearing predicament. because on one hand, I can really appreciate how perfect the continuity of the albums musical style is. But on the other, it does detract slightly from the overall excitement of listening to the project as a whole.

Although having said this, Supervision is still far from a boring and lacklustre album musically. This new and refined brand of electro-funk really suits La Roux’s own vocal style and general aesthetic really well.

And while yes, much of the production is really enjoyable, I do still wish La Roux’s vocals took a bit more of a centre-stage. I would argue that a lot of this albums instrumentals feel just as audible as the vocals, which at times could drown the vocals out perhaps a little more than it should. after all, it is La Roux herself that we want to hear the most, after such a long hiatus.

but other than those few nit-picks, Supervision is a very enjoyable album in its instrumentation and style, as well as a triumphant one in its context. Furthermore, I feel that this is finally the type of approach that Elly Jackson actually wants to take. This shows clearly in the nothing-held-back attitude that feels apparent throughout this record.

I would honestly love La Roux to continue creating music more independently, as I felt that said independence had been a benefactor for Supervision. And while this album still shows that there is room for improvement, I am confident that we can expect more dynamic projects to come, as long as this independence keeps going strong.

Favourite Tracks: Do You Feel | Otherside | Gullible Fool

Least Favourite Track: Automatic Driver

Supercolour Records


My articles mainly revolve around music reviews and analysis. A bit like Anthony Fantano, but just a decade behind.

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