ALBUM REVIEW: Lizzy Farrall – Bruise

Release Date: March 27th 2020
Label: Pure Noise Records


Following a spout of undeniably vibe-y singles, Chester based songstress Lizzy Farrall stuns with her debut full-length release, ‘Bruise’.

Complete with an eerie cover and a batch of ferociously jazzy songs, the ten-track serves copious amounts of pop sensibility awash with the vibrance of her potent alternative stylism.

‘Addict’ is clambering, blistering beneath the surface of deep British streets. From the offset, it’s clear that the construction behind Farrall‘s music is overtly meticulous, layering pumping bass lines beneath glittery riffs and hooks so engraining that you may as well stick a diamond on the end and wear them forever. A ridiculously strong opener, ‘Addict’ leaves you entranced, captive at the bruised fists of the feat.

A cooler side to the grit, ‘Gas Lighting’ beckons Farrall‘s higher register into being, coaxing out the gentleness behind her aesthetic. The title alone recognises vulnerability, and the lyricism maintains this realism amongst the blemished beats and ghostly backing vocals. The pulse of ‘Games’ is similar, but all is punctuated by the edge in the guitar and the questioningly macabre lyrics.

Double-edged and striking, each track on this feat actively lures Farrall‘s ambiguous intentions from her psyche and into her music. “I wrote these songs like a mirrored image,” she prefaces her releases, “So while one side of it is all about something that’s happened to me, I’ve used metaphors and ways for other people to connect to it in a way that they would like to for themselves.”

And, as ‘Knocked For Six’ cries out into the watercolour haven of ‘Knight Rider’, this duality is so evident that an entirely new perspective can be granted to the track’s predecessors. The unfiltered lyricism aptly lines the buoyant pop-influenced instrumentation, jiving through each effort with a new, vivid mask. Confining ‘Bruise’ in its entirety to a single genre would be idiotic and downright impossible.

The final three tracks are a microcosm in themselves, each with their own climate and energy. ‘Balloon’ and ‘Barbados’ are both tropical, fevered with the blush of a thousand suns, while ‘Okay’ is just that, existing amidst the chimes of melancholy chords and nestled comfortably between the warmth of the aforementioned.

‘Bruise’ is a world of its own, free and flying. You should take a visit sometime.