![]() But soul rock revivalism has been done to death, and despite its predictable structures (tense builds ripping choruses) Fake Sugar has a few excellent moments. ![]() “Oo La La” is a lazy, leering garage jam. There are odd production choices: like the noodly British indie guitar parts that cascade through “Savoir Faire” (as if Two Door Cinema Club turned up at the saloon), and total outliers like “Do You Want Me To,” which sounds like a Depeche Mode tribute from a completely different record. It’s often stately where it should bleed, and hokey where it should shred. It’s a shame that Fake Sugar is so slick and professional. After auditioning a host of potential producers, she found her match in Grammy-nominated Jennifer Decilveo, who’s mostly worked on pop and R&B records, and a band of session musicians (plus Queens of the Stone Age bassist Michael Shuman). Heading south is a well-worn trope for artists in strife completing the image, Ditto became obsessed with Graceland on her travels. Following the demise of her band, the death of her father, and a rocky patch with her wife, she also reconnected with her southern roots. The songs on Fake Sugar were originally intended for another Gossip album, until Ditto’s bandmate Nathan Howdeshell moved back to Arkansas, to her surprise, and she decided to go it alone. ![]()
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