Annie – Dark Hearts

This is still available on her webstore - don't buy from scalpers!

I was excited to see copies still available in her store for $31 but then ran into that $41 shipping fee to the US...

sadly the web store is no longer issuing refunds for the defective cassettes. they basically just slap you in the face and send you on your way.

What an album!!!!!!!! Absolutely epic. Stunning artwork, heartbreaking, heartfelt, cinematic. Just brilliant.

On my copy track A7 (American Cars) cuts off before it has ended, even though there still seems to be enough tape left for the song to finish. Anyone else has this problem?

The Pete Hofmann mix of the title track replaces the original version on the CD. Kind of a shame because I prefer the original mix. I thought the alternate mix would've been added as a bonus track. But either way it's a great album.

This is a terrific album. Good blend of moods and tempos, excellent synth sounds and production. Nice quality inner sleeves with printed lyrics. My copy sounds fantastic after getting rid of the static. Quality pressing all around.

Well, it's been a while. We last heard of Annie in 2015 with the nice Endless Vacation EP, and since then we've kinda resigned ourselves to the fact she's probably retired.

From the catchiness of her debut 2004 LP Anniemal through to the irresistible I Know Ur Girlfriend Hates Me and of course the superb Don't Stop LP ("Breakfast Song" notwithstanding), Annie had provided pure pop of the highest order (thanks in part to the genius production of Richard X).

So what an absolute pleasure to find her back in 2020 with a brand new album! Let's check it out...

We start with In Heaven. Immediately you are hit with a heavy dose of the 80's. Well, the 80's with that revisionary viewpoint. We're talking Synthwave here, and it permeates throughout this album. A beautiful, lush backing combines flawlessly with Annie's breathy vocals. Almost sounds Julee Cruise in style (but we'll get on to that later).

The Streets Where I Belong picks things up a notch, it'll definitely appeal to fans who expect more of the Don't Stop era. That's not to say that it's too "pop" (not much on this album really is), but it's certainly amongst the most accessible. It's very pleasant, with melancholy lyrics and a guitar solo (yes, you heard me right).

The title track, Dark Hearts, is a definite album highlight. Ultra catchy melody, and very involving lyrics. Stylistically we’re talking mid-80’s slow tempo Italo Disco. A chunky bassline & funky off-beat riff carry the track, it’s one of those tracks that stick in your mind long after hearing it. Nice to hear Annie use “passé” in a song again too :P

Miracle Mile brings things right down. Remember I mentioned Julee Cruise earlier? Well yeah, this is literally something she could have put on “Floating Into The Night”. Wistful guitars weep alongside Annie’s voice, and then we get some pure Dire Straits guitar solo action. Damn, it reminds me of listening to my dad’s cassette collection.

Corridors Of Time continues things, to the point where you ask yourself if Mark Knopfler has actually taken over this album and is now collaborating with Julee Cruise. Where is Annie? I’m joking of course, but there are so many clear influences on this album that it’s virtually impossible to ignore. I’m being rather ignorant in fact, as there is some beautiful vocal sampling in this track. It’s a lovey song.

Forever ’92 has what appears to be a synthesized saxophone. I don’t care if it’s real or not, saxophones can piss off as far as I’m concerned. That aside, this is a jolly uptempo track which has absolutely zero to do with 1992 sonically. Perhaps it’s based on Annie’s personal experiences, fair play to her. When I was 15 I was playing on my Commodore 64 alone. Making love was something associated with saxophones.

Next we have the first single from this album, American Cars.

Pure synthwave. Such a bassline, warm melodic synths, Annie at her best vocally. I can’t say much more about it, it’s superb.

Mermaid Dreams follows a similar path, but with a much more downstated feeling. The vocals kinda hint at New Age, and again we get some Dire Straits guitar garnish. Very cool, if you know what I mean.

Stay Tomorrow really throws a curveball. It’s instantly open and fresh, not so dense. It’s one of those songs that you could imagine being sung in French, you know, a chanson by Françoise Hardy. Conversely, here Annie sounds quite like Stacey Q (think n’importe quoi).

The Countdown to the End of the World starts off like it’s 1997. Big live & raw drums, I feel like I’m listening to Ultra era Depeche Mode! But of course Annie’s whispering vocals change things, and my goodness the melody is superb. It’s bombasic for sure, but a definite winner.

The Bomb starts off with some VERY Twin Peaks pads, but no this is not a Julee Cruise style track. This is more like early 2000’s UK Garage. Hmm, I’m not sure about this.

The Untold Story is one hell of a track. It’s like a condensed 5 minute mini musical. Gigi D’Agostino could make a banger from this track. If that’s something that would appeal to you, I leave it to your imagination (and mine).

Finally (FINALLY!) we get It’s Finally Over (of course we do). A lovely, swinging ballad. Kinda reminds me of Candie Payne, in a melancholy way.

CONCLUSION

Clearly Annie's most mature LP to date. Those who enjoy her first two albums may miss the bubblegum pop aesthetic (in which case may I recommend Kylie's new LP "Disco"), but those of us of a similar age to Annie will appreciate the progression in sound. There's still plenty of playfulness here, and Annie's lyrics are probably the strongest they have ever been.

FINAL SCORE

86%

Genuinely one of the most stunning albums ever created. Worth the wait.

The download from official annie.100-percent.co.uk is a zipped collection of high quality .wav files not mp3. Also has Instrumental versions. So great to hear from Annie again!