Review of Creation Album by The Pierces

The Pierces' 'Creation' is the least druggy drug album possibly ever recorded. Sisters Catherine and Allison set to work on their follow-up to 2011's 'You & I' soon after their breakthrough's release by experimenting with ayahuasca.

The Pierces Creation Album

While the central and native American evocations of the drug are heard in the wild west calls of the title track and opener, the record doesn't appear to have imbibed any of the looseness and mind-fog usually associated with psychedelic influence. Instead, the duo produced a musically uncompromising, yet somehow lyrically and emotionally free, LP with the same spirituality and soul-searching as its predecessor.

The siblings' strength has always been in their intense, inviting harmonies and 'Creation' draws out rich ABBA-esque vocals, teamed with the rose-tinted wistfulness of Lana Del Rey, the west coast melodrama of Haim, and the glassy electronica of Nordic girl pop.

On its first spin, the album seems to slot neatly into the pop category, yet indie, blues, country and soul elements float through as it sinks under the skin with its siren song. 'Come Alive', 'The Devil is Alive' and 'Kings' are neat, guitar-driven, city rock songs that nestle comfortably next to soft, sun-soaked pop, dancing them away from their gothic-tinged past, but still letting them retain their fireside raconteurial flair.

Upon their fifth effort, it seems sure that The Pierces of the future will be the handclaps, high production and heart-rending harmony of 'Believe in Me' - widely likened to Florence and the Machine. There are the distinct female country and blues imprints of Rosanne Cash and Sheryl Crowe on the darker, more traditional 'Honest Man' and 'Confidence in Love', but it's the mid-point, marching 'Monsters' that glitters with ominous themes and a lingering chorus.


Lauren James

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