She's up-and-down, even a bit raspy on the verses, but returns to her power-rock, supercharged roots for the chorus. When her voice tears a hole through the beat in "Innocence" (at around 2:14), it's visceral, but it's "Love/Hate Heartbreak" that shows off LZZY's range better than any song on the album. A tempting revisit to a departed relationship, LZZY backtracks "do you close your eyes with her/and pretend I'm doing you again like only I can?" She clearly appeals to her innate, powerfully self-aware sexuality, but her delivery is too sad to really buy it. "Bet U Wish U Had Me Back" is a fine example of this. Much of the album's intoxication comes out of the fact (or personal opinion) that LZZY is (or seems to be) brutally honest in her vocal delivery. People are weird, more so in their privacy, and this can be naughty fun.
Having received heavy radio play (or so I've read on Wikipedia), the song acknowledges that attraction, as love's antecedent, has no respect for social norms. Lead single "I Get Off" is an ode to voyeurism, but the song has an odd charm to it- a strange intimacy, even. They signed with Atlantic in 2005, but would tour extensively for 3-4 years before releasing their first full-length LP.Ī staple of the genre, sexual energy permeates the songs in a delightfully-overbearing manner. The band formed in 1998 when pre-teen siblings LZZY (vocals, guitar) and Arejay Hale (drums), along with their father (bass, temporarily), started playing and writing rock music.
It’s actually easier to think of Halestorm as female-fronted version of all those narcissistic, radio-friendly, cock-rockers that have spent their last few summers opening up for Motley Crue. Where does Pennsylvania's Halestorm fit? Talent-wise, somewhere in the middle, but it's tough to think of them in comparison to most of the typical "girl-rock" bands, an idea I don't think necessary at all nowadays. It's a conclusion foregone, death and taxes, Saw sequels and "American Idol." Well, not completely, but it sure feels that way sometimes. Review Summary: No revolution to be found on the Pennsylvania quartet's self-titled debut, but lead singer LZZY's electricity lends an endearing charm to a been-dying-so-long-it's-gotta-be-dead genre.Ī gimmick.
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