Coming from Damaged Goods label out in the United Kingdom, Fabienne DelSol quickly captures hearts through the sweet-talking vocal range accompanied with this garage rock coat of paint. Incredibly loose in the stance on stage, her 2004 release No Time For Sorrows is a short, but well-adjusted record that nestles perfectly under the arm of the listener.
“I’m Gonna Haunt You” is the opening piece where DelSol can slither through the cobwebbed environment where the desert vampires roam. She is quick to approach the microphone as a vengeful, but striking cobra where she describes, “I’m gonna haunt you, haunt you till your dying day… I’m gonna haunt you, no matter where you try and hide.” As the band behind her highlights her low, almost grumbling voice with this lightning crash of strings for the opening track, everything soon changes.
The next track “When My Mind Is Not Live” focuses more on creating a drum pattern that is uplifting and full of motion. With the use of crash cymbals that resonate over her more inviting work as the bass resembles something more out of the 1960s. Everything that accompanies DelSol relates back to this flower power posture that is just a deadly façade to the underlying mischievous sound. DelSol’s French roots eventually show their face on the track “Laisse Tomber les Filles” roughly translated to “Drop The Girls” which is a cover of France Gall’s 1964 track of the same name.
As death-proof saxophone wails act a grindhouse heaven where 60’s culture strikes the listener in the face with imagery of fast cars and even fast switchblade sisters. The truth of sliding in the French lyrics over a primarily English record incorporates some sense of bilingual beauty where DelSol commands over her presence as a muse of the microphone.
Gorgeous in both design and gloss, No Time For Sorrows brings a revival of 60’s sound in a matter of seconds as the tracks transition quickly over 13-total cuts. After one listen, DelSol feels as if it was a nostalgic record found in your grandparent’s attic surrounded by dust, but the 2004 release date makes the record barely a bitter, modern reflection of love through sound.