Colombian band Sexy Lucy is no stranger to entry level notoriety. They’ve had their
music appear on compilations with the likes of Interpol and Client, and they even
garnered accolades from Andy Fletcher of Depeche Mode and Peter Hook from New
Order. Sexy Lucy even had tequila kings Jose Cuervo use one of their songs for an
advertising campaign. Their crisp brand of modern electronic rock, or “dance rock,” has
presented them with a deliciously addictive musical flair, and they continue with their
recipe on their new album, Dynamite.
Dynamite is chock full of vibrant dance rhythms, prismatic electronic splashes, and
flickering tempos that intermingle, drift off, and then pour back to form some truly
appealing techno-styled music. Every track is different in its mood, electronic cadence,
and glimmering dance pace. “Crash” starts off with a gritty mix of drum strikes and a
smooth electric groove, followed by an extremely danceable recurring rhythm. Draped
with shimmering vocal textures, the music (not the vocals) is not unlike that of The
Killers, Ladytron, or even New Order in places. The synth-led onslaught is upfront,
distinct, and snappy, forming a great dance vibe as it spills out.
“Dynamite,” the title track, involves some great electronic gymnastics. With plenty
of color and an infective rhythm, the keyboard swaths wind and wrap around the
robotic vocals. Trance-like and out of the ordinary, there’s a warmth that emanates
from this particular track, despite its cold, mechanistic air. It’s bizarreness leads to its
magnetism, mainly because it’s infused with such a great electronic pulse. “Flashback”
relies on a straightforward rock beat, surrounded by more hardened drum bits and
hyperactive electric undercurrents. This one has a tempo that surges ever-so-slightly,
but it’s backboned by another flashy blend of vivid dance floor grooves and curt, brisk
The most commercial sounding of the lot is a track called “Hiperventilacion”. The vocals
are mechanical sounding, repeating the song title as a flurry of synthesized torrents weave
in and out throughout the song‘s nearly three minute lifespan. Even with its predictable
eighties sound, a sturdy rhythm is mustered up, and the song, while not the strongest,
stays afloat amongst all the techno busyness. On the other side of the coin, “Kiss Me”
opens with a cold, percussive rhythm, and haunting, chilly vocals that suddenly heat up
with the encroachment of the chorus. “C’mon and kiss me/C’mon and kiss me now”
chants the refrain; simple words completely surrounded by a catchy, danceable bounce.
Upping the ante quite a bit is “Losing Control,” introduced by an icy keyboard palpitation
and dreamy hypnotic vocals. Suddenly coming to life and taking on a fiery complexion,
the band’s familiar dance rhythms and electronic collages swirl and churn, evolving into
another industrious dance track. Much like the other cuts, there’s plenty of movement and
dynamics of the electronic sort.
“New Drug” is a rather plain sounding mix of rock and electronic styles. Its aura and its
automated composition mirrors the rest of the album’s offerings, but its bottom end and
staccato beat structure give it enough verve to keep it breathing as it unravels.
On Dynamite, Sexy Lucy do a great job at creating lively tracks that inject plenty
of modern dance/techno jams, rhythms, and contagious riffs. While the odd dose of
repetitiveness may be noticeable from time to time, they manage to stay fresh sounding
and diverse for the most part. Their music has many dimensions, and the songs on
Dynamite carry unique personas that come alive as they disentangle with the aid of
colorful instrumentation and vibrant tempos.
Review by Mike Degagne
Rating: 4 stars (out of 5)