Two by Lenka


Well, Madame Kripac sure knows how to script a hit. I’m referring to Everything at Once of course, and the compliment is courtesy of the song’s appearance in all of those commercials going around for a popular operating system, you know which one. Two as the name suggests, is her sophomore effort, and while I can’t claim to have heard her self-titled debut, or her work with Australian electronic-rock crossover Decoder Ring, the release still presents several characteristics to have a take on by any parameter.


#1. Two 3:16
#2. Heart Skips a Beat 3:21
#3. Roll with the Punches 3:19
#4. Sad Song 3:25
#5. Everything at Once 2:37
#6. Blinded by Love 3:50
#7. Here to Stay 4:02
#8. You Will Be Mine 3:28
#9. Shock Me Into Love 3:26
#10. Everything’s Okay 3:50
#11. The End of the World 4:14
iTunes Bonus Tracks:
#12. Maybe I Love You 3:27
#13. Wrote Me Out 4:24


Lenka Kripac: Vocals, Piano, Trumpet


Eg White
Guy Sigsworth
David Kosten


19th April, 2011


Heart Skips a Beat
Everything at Once


First things first, Everything at Once is a fantastic effort, and you can clearly hear why the folks at Win…er youknowwho, thought it’d be a good idea to have it theme their release and render its associated publicity to the general media. The lyrics are fun and bouncy, and a 2:30 track time offers incredible replay value to radio stations all over I’m sure.


Two other tracks that attempt to follow this proven formula are the ones that enjoy moderate success; You Will be Mine at #8 is a catchy 80s-themed hit, while Here to Stay right before it ain’t a bad listen either. Unfortunately, it’s the rest of the album that more or less goes through the motions, and lacks the charm and quirkiness of these three mentioned efforts.


While I understand that the primary intention of most mainstream, and pop artists, is to write a couple of decent hits and filler-up the rest of the album, eight average songs out of almost a dozen does the three that actually work a huge disservice in this instance.


For real, the penultimate track in Everything’s OK comes across as an unintentional nursery rhyme, while Sad Song further up doesn’t sound like a ballad at all, if it was supposed to – and The End of the World – to pursue that metaphor, is too ‘happy’ and cheesy, if I may describe it thus. And those are just the tips of the iceberg. To keep it succinct, if you’re big on the radio and other commercial forms of auditory media, I reckon you’ll catch the few tracks that click sooner rather than later, but they alone aren’t good enough a punt to check the rest of the album out I’m afraid.


Like most of its cousins in the genre, this release’s primary flaw is its lack of sonic appeal and an equally poor handling of  any thematic progression that may exist from song to song, that some other records from other genres possess and portray with delicious regularity. Everything at Once though, to pump its tires even more, is still a fantastic vocal effort for someone on the wrong side of her thirties.


And that in turn pumps up this record’s rating to a solid three, rather than the two stars releases like this one are usually awarded.





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