What’s the opposite of a fairytale? Not as far as a nightmare, that’s not appropriate. But whatever it is, Joy Zipper’s journey so far probably takes on that form. Arguably the most divine pop creation of the past decade, delectable in their every last move, floating untethered through an otherworldly musical ether, they’ve been met off almost every flight by misfortune, mistreatment and a subsequent ignorance. Their last album, ‘American Whip’, was deemed a classic by anyone lucky enough to skirt its orbit, but thanks to the aforementioned ill luck not many did. But while there are probably lessons to be learnt from their history none of that really matters anymore, not right now anyway. Because unfazed, and refusing to dwell on the ‘what ifs’, they have simply forged ahead and done it again. Like it was the easiest thing in the world.
And ‘The Heartlight Set’ is no ‘American Whip’ copy, it is a confident equal and will be remembered for what it has done itself rather than just being available when they weren’t before. Previously they were carried on an ambient electronic breeze, layered like a pile of autumn leaves, encouraging deserved associations with Air and My Bloody Valentine, on top of which they assembled fragile and charming alt-songwriting sketches. That set up has been scaled back here to a more simplistic alt-country base, more like contemporaries Rilo Kiley or the Juliana Hatfield featuring Lemonheads, though everything is still arranged as a result of and benefiting from the complex melodic nous absorbed over previous years.
Tabitha’s voice literally melts over everything, Vinny’s rises up to meet hers like a thick, fragrant smoke ring when an extra depth is required. Or vice versa. Guitars tap out the songs’ shapes with light-footed certainty. Organs or synthesisers intermingle in soft focus. And above and beneath these consistent and encompassing wisps there are the rolling, persistent beats and handclaps of ‘Go Tell The World’, ‘You’re So Good’ and ‘Anything You Sent’, the gorgeous melody merge and lyrical sumptuousness of ‘For Lenny’s Own Pleasure’ and ‘Window’, and the sturdy Thunderclap Newman ‘Something In The Air’ stealing ‘Rockdove’. Every song wants to be adored, and it’s only logical to oblige. There has never been an ugly duckling in this pond, but now maybe the swan can get fitted for a pair of those glass slippers at long last.