Well, I hate to say I told you so. I mean, your reviewer thought at the time that the SNEAKER PIMPS boys were walking the thin line between clever and stupid when they dismissed their feisty vocalist KELLI ALI following the humongously successful "Becoming X" album.
Although the second PIMPS effort, "Splinter" had its' moments, they've spent the past few years gradually retreating into a culty, cobwebbed corner. Ms.ALI, meantime, has bee out in LA working with MADONNA/ DIDO producer RICK NOWELLS and fashioning "Tigermouth." Do I really need to say Go Figure?
And though I imagine it's the last thought in KELLI'S mind now, her debut album "Tigermouth" will probably be the final nail in the SNEAKER PIMPS coffin. Let's face it, who needs murky, splintered trip-hop when you can have this voluptuous, pouting Goddess simply oozing pop class?
"Tigermouth" is conclusive proof that KELLI ALI was, in effect, a far larger part of the SNEAKER PIMPS equation than simply the figurehead. Indeed - along with BAZ'S recent breezy run of singles - it probably wouldn't be far-fetched to say she's spearheading the ONE LITTLE INDIAN renaissance as an unashamed POP label.
Speaking to Kelli recently, she emphasised the sunshine inherent in "Tigermouth" and - for the most part- this album is like throwing the shutters open on the most brilliant Californian day. For starters, it's absolutely crammed with singles. Opener (and new single) "Inferno High Love" is typical: dancey, sassy and ultra confident, with a potent voodoo kick.
There's plenty more where that comes from too. "Here Comes The Summer" (no, not that one) is both serene and pristine, with a criminally catchy chorus and a suitably coquettish vocal from KELLI, whilst "Queen Of The World" goes for that upbeat, inspiring acoustic guitars 'n' breakbeats axis that labelmate BAZ has utilised to great effect in recent months, and - perhaps the best track here - the nagging, sultry "Teardrop" smoulders its' way into your heart's inner recesses.
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Elsewhere, ALI steps out into more ambitious territory. Sometimes, she cracks it effortlessly: witness "Angel In LA"; its' scratchy, echoing guitar, cranky loops and "Strawberry Fields"-type mellotron touches eventually giving way to another majestic chorus; or "Sunlight In The Rain": its' creepy guitar figure and slo-mo atmospherics suggesting it wouldn't have been out of place on MASSIVE ATTACK'S "Mezzanine." "Paper Moon" harbours the highest aspirations though: taking a story by MURASAKI SHIKIBU as its' starting point, its' gentle Oriental drift allows KELLI'S most alluring vocal an airy magic carpet ride to the stars.
"Tigermouth" does proffer several lacklustre moments, mind. "Fellow Man" is written from a hooker's point of view and while you can relate to KELLI'S sympathetic lyrics, the song itself plods. "The Infinite Stars" meanwhile, is a turbo-charged metallic hi-NRG stomp that struggles for iron-pumping sexuality but merely sounds sawn-off and - even allowing for former DOORS drummer JOHN DENSMORE'S involvement - album closer "Kids" obsessive fan scenario fails to communicate the potential knife-edge danger inherent in the situation.
Nevertheless, with production nous from both RICK NOWELLS and MARIUS DE VRIES helping to shape her muse, KELLI ALI'S lengthy incubation period from Irish-Indian punk minx to fully-fledged, self-reliant regal pop princess has gone exceptionally smoothly as "Tigermouth" testifies.
All hail the sensational new soul sister, then. Very much doin' it for herself.
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