Pip Brown, aka Ladyhawke, an artist who arrived before the likes of Marina and her diamonds, Little Boots and Ellie Goulding with an indisputably more interesting sound than any of her contemporaries presented at the time. Her 2008 self-titled LP was laced with '80s influences, combining Stevie Nicks' spontaneity and Pet Shop Boys' style with an altogether original pop sound. An album of anxious pop tracks that were both refreshingly honest and darkly engaging. When you listen back to the majesty of 'Magic' and electricity of 'Back Of The Van', it makes you despair to consider how we have arrived at Wild Things.

Recorded in Los Angeles and produced entirely by Tommy English, most expressions of individuality have been removed and replaced with polished finesse. You are left with eleven songs that are entirely devoid of personality and the delivery only emphasises this. The free spirited percussive elements of 'The River' promise off-centre pop yet the way in which Pip sings a 'na-na-na-na' hook, that was potentially added externally, is painfully insincere. This notion of impartiality from both producer and artist continues on 'Golden Girl' and 'Money To Burn', adding very little value or impact. 'Chills' coasts by without causing an ounce of impression, a delivery devoid of any real emotional connection strangled out by this immaculate production.

There are some high points to pull from Wild Things, the title-track for example has an off-centre narrative weaved into a wonderfully addictive chorus. Its minute long introduction is both indulging and misleading, ideal to build anticipation for the imminent arrival of Ladyhawke to global stages. Its synth-pad undercurrent is so deliciously retro, you can almost envisage the piano key tie her bandmates are likely to adorn for its performance. Meanwhile 'Sweet Fascination' responds to the current reprieve of ground shaking synthesisers used to enhance pop conventions by the likes of CHVRCHES and MS MR while Pip's nonchalant vocals simmer here seductively.

'A Love Song' and 'Let It Roll' reflect on Brown's past difficulties with alcohol and excess and demonstrate that it is through honesty that Ladyhawke writes her best choral hooks. 'Paris Is Burning' and 'Girl Like Me' are perfect examples of this whereas here there are too many missed opportunities where the daring has been replaced with the dull (see the inappropriately titled 'Dangerous'). Ironically this album has been designed to grab the attention of the masses, to be played from radios worldwide, whereas in reality these will be the tracks that signal to gig and festival goers everywhere that it's time for a toilet break.