My Toys Like Me : Where We Are
In a scene increasingly populated by dance driven alternative acts, it is often a struggle to impose a sense of individuality. With such a desire to be unique bands can sacrifice quality for notoriety, making them nothing more than a novelty act. My Toys Like Me do nothing of the sort. Being truly original their intriguing songs are filled with vision and a unique take on a much congested genre. Where We Are is a variable journey and one that will maintain attention from start to finish.
Creativity is at the epicentre of My Toys Like Me and the key to their unique sound. Immediately striking are the vocals, excellently crafted by Frances Noon. Child-like in tone and sickly sweet in nature, they are intriguing if not slightly disturbing at times. “Sweetheart” showcases them perfectly. Accompanied by a simple yet steady electro beat the song centres around Noon's fascinating vocals. “You always end up getting changed in my room/You never leave me alone” is fairly disturbing subject matter, especially when delivered in such an adolescent sounding voice, but this does nothing but add to what is already a charming track. “Barnaby” also demonstrates the childish side of her vocals to great effect, “It's not fair that you keep them/I want them” being the perfect juvenile rant. When combined with the tracks more robust lyrics, the result is a fascinating and well balanced mix of youth and maturity. The instrumentation is brilliant once again, with a fluxing bass line complemented by sporadic guitar rushes and a subtle drone creating the perfect backdrop once again. It certainly is a unique style, but one that is irresistible once the initial shock has subsided.
The variety of style is also admirable, with every track offering something a little different. The curiously titled “All Over My Face” bares a beat reminiscent of a classic hip hop track, it's slow progression allowing a lone trumpet to dip in and out accompanied by a mix of electronically driven soundbites. In stark contrast “Making Fire” begins with a whisper of “Join fingers in silence” accompanied by a staccato melody and a consistent drone. To go to such extremes within a few tracks is a bold move, but one that works magnificently well. The thought and consideration put into the instrumentation is admirable, giving the feeling that each song has been constructed rather than thrown together, a sin often committed by others in the genre.
Such ambition and creativity is demonstrated on final track “Young Lovers”, a cover of the Van Morrison classic. Ordinarily such an attempt would be nothing short of blasphemy, but the track is dealt with so delicately and with such intimacy it is impossible to feel anything but admiration. Slowed to a mere strolling pace, Noon's soft voice floats over a mellow guitar with the occasional electronic input. It really is a stunning way to end a fantastic album, and the fact that such a majestic song can be given an entirely new lease of life is something to be applauded.
Where We Are is a magnificent album, there is no other way to put it. With such creativity and a unique sound it is virtually impossible to feel anything but affection for such a charming and fresh new band. Slightly strange at first, the individual quality of each track demonstrates a talent that is sure to be the subject of many conversations come the release of the album, and rightly so.
Words: Dan Grose
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