Hannah Cohen - Pleasure Boy [Album Review]

(For a TRACK-BY-TRACK review, scroll down) Relatively unknown, Hannah Cohen is an American singer and model whose first album, Child Bride, was released in 2012. Pleasure Boy is an album with deep undertones of loss and pain, insulated with a mix of sweet melodies and looming darkness. But what does Pleasure Boy sound like and how do each tracks fare? The album starts off with ‘Keepsake’, an ominous and captivating opening to Cohen’s second album. First impressions would lead you to believe this is going to sound like a mix between Lana Del Rey (there are some similarities in vocals) and Florence and the Machine (in terms of instrumentals). There is a very ethereal feel with Cohen's sweeping vocals combining with solid beats, it's definitely one to get carried away with. It grabs your attention and it runs with it; you’ll be hard pressed to keep up.

#2 is ‘Lilacs’ which is a mixture of some sweet synths and jazz beats, with plenty of opportunity for Cohen to show off her varying vocal range; from her low and deep drawl on the opening verses to the higher, rich tones on the chorus, we get it all on this track. Piano-laden ballad ‘Watching You Fall’ is there to cradle us with its soothing sound and mellow, drawn back nature. This is something you could easily listen to on a lazy afternoon in the summertime or early spring. ‘I’ll Fake It’ is an interesting change in styles, with the solid bass-line not sounding out of place on an r&b or dubstep track. A little darker and sultry in tone, Cohen's vocal confidence shines through on this track and she's in her element in this intriguing mix of musical styles. 

Number 5's ‘Claremont Song’ is certainly a strange addition. The consistent underlying beat in this track always has the potential to accomplish more, but chooses not to – it’s a more understated song that feels like it is on its own never-ending journey to an uncertain future. You’ll be in a constant state of apprehension listening to this, we’re pinpointing this as our ‘marmite’ track; you’ll ever love it or hate it. ‘Queen of Ice’ follows this with some striking lyrics; ‘Trace your fingers down my spine/ watch me crumble before your eyes’. A dark beginning for a haunting song from Cohen. The vocals flit between the frenetic and the almost numbingly still, whilst Cohen experiments in a most alluring way with the pace and feel on ‘Queen of Ice’.

‘Take the Rest’ continues the dark theme in a more subtle and subdued way although it doesn’t pack the same kind of addictive punch as ‘Queen of Ice’ and it leaves you wanting a little bit more. ‘Baby’ rectifies this mixed feeling with a strong guitar opening, allowing for Cohen’s vocals to stand-out in the ending song. This one’s got an air of country charm to it. A suitable closing track, finishing the album on a high note.

Overall Verdict:

It’s a bit of a beguiling mix between old and new styles, with various musical influences trickling through, from country to dubstep to electro-synth sounds. For the most part, Pleasure Boy entices you in and successfully delivers, with only the casual misstep; which is understandable given its vastly experimental sound and feel. The production is crisp and coherent, each track flows with a haunting rhythm into the next and everything feels like it has been executed to a high standard. It’s bold, sultry and sweet and it’s likely to be your next favourite record.