As they enter their fourth year, Oxford/Reading-based duo Vienna Ditto certainly have a lot to show for themselves.
Their intriguing blend of smoky blues, psychedelic rock and electronica has earned them airtime from the likes of Radio One, BBC6 Music and XFM, and they are rapidly becoming the darlings of the regional and the national press. Listening to their latest release, Liar Liar, the reasons for this are clear.
The title track opens the EP in fine fashion, with a viciously-bitter song set to a furious Latin groove. From the very beginning, we learn what makes the fusion of Vienna Ditto so special: as Nigel Firth punctuates their trademark sound with moody rockabilly riffs, atmospheric swirls and filthy synth stabs, Hatty Taylor is every inch the femme fatale, her vocals a graceful yet throaty whisper. As the pace increases, with an ominous Mellotron line adding a distinctly Eastern feel to proceedings, it becomes apparent that Vienna Ditto are capable of producing a sound that is truly their own, and we find ourselves waiting with eager anticipation as ‘Liar Liar’ draws to a close.
‘The Undefeated’ takes a more traditional line, beginning with acoustic slide guitar and minimal bass drum. Taylor’s voice drops to a level so achingly fragile that it threatens to shatter, yet manages to remain curiously spellbinding. More of the duo’s typical atmospheric electronics weave through before the song takes an unexpected turn. A drop to near silence is interrupted by the merest of utterances from the vocalist: “‘cause you can’t break me”, she states, defiantly, before the track erupts into a grimy salvo of electronic noise. The moment is brief, yet unsettling, and as a stripped-down version of the initial arrangement fades in to draw the song to a close, the listener is left reeling.
‘Whatever Comes My Way’ is another musical detour, and something of a respite from what precedes it. The electronic frills now completely absent, Taylor and Firth weave a wonderfully simple ballad of voice and guitar. “Love is an addiction that makes beggars of us all”, sings the former with a taste of the divine lyrical prowess at work here, and the song as a whole is a deeply haunting vignette of regret and longing. The EP closes with ‘Little Fingers’, which invokes a Nancy Sinatra vibe with heavy tremolo on guitar, and husky vocals. Unfortunately, what follows is something of a low point for the record. As the song kicks into gear, it strays dangerously close to standard electro-pop territory, and the whole effect is, comparatively, rather tame. It’s an enjoyable track, and the duo still maintain their predefined edge, but it’s far from their strongest material and is a slightly lacklustre way to close what is otherwise an exceptional EP.
For a band to create a truly unique sound is a difficult task, but not one that Vienna Ditto shy away from. They manage to blend deeply contrasting styles without sacrificing their songwriting ability, creating a breathtaking musical melting-pot that almost defies definition. It’s not the most consistent of EPs, but with such an ambitious project that is to be expected to some extent. Liar Liar is an intelligent, well-assembled record, and thoroughly deserves all the attention it gets.
Check out the title track, ‘Liar Liar’, below:
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