Apart from the Amazon Prime series (or the corresponding novel by Taylor Jenkins Reed), the fictional band publishes Daisy Jones & The Six her album Aurora now also in reality.
Behind the two actors Riley Keough (as Daisy) and Sam Claflin (as Billy) intoned songs is mainly Blake Mills who, in addition to composition, performance and production, practically pulled up almost the entire shell of the record single-handedly, even if he received support from Chris Weisman, Jackson Browne, Marcus Mumford or Phoebe Bridgers, among others.
That Daisy Jones & The Six basically on the story of Fleetwood Mac is based, especially in the first two songs of the record, the title track and Let Me Down Easyclear if Aurora sounds like they have Earl Greyhound charming C-sides of Rumours recorded with a knobbly full, clean sound a la Brian Burton and his retro perception – a kind of enormously valuable constructed plastic version of the 70s.
Which may sound more negative than it is meant to be. Then Aurora is solid through and through, always keeping the scales of pleasing catchiness and smoothly polished equality in a positive balance and always letting its eclectic entertainment value loosely off the ground: without real hits or even approaching the level of timeless evergreens, ranks Aurora catchy tunes competently together with a likeable nonchalance.
In addition, the MO of the playful duets is always slightly varied: sometimes harmlessly countryesk (The River), sometimes gently erupting, letting his finale gesture far too extensively – but Look at Us Now (Honeycomb) just have to celebrate a dramatic moment. Sometimes there are scenes with a bluesy touch, like in the rumbling one Kill You To Try or the rocking one More Fun to Mixremix-style near-experiments (Please) or quiet Acoustic miniatures between Songbird and Landslide in vulnerable solo mode (Two Against Three) – and with No Words symptomatically a nice but immediately forgotten ending.
So while Mills and Co. are clever enough from the outset not to create a pure pastiche of a band whose output can be classified as iconic, and which one only has to stand up to anyway, it succeeds Aurora but still only conditionally score. The lyrics in particular are quite a collection of clichéd (relationship) platitudes, although the vocal performance is quite decent and authentic, while the songs themselves are hardly emotionally touching without really outstanding melodies or hooks (although they remain without failure) in a primarily aesthetic romanticism and often more like tastefully successful pop rock format radio
Latently superficial and stylish – but doing little wrong, if you will. For the upcoming summer sampler, however, a few really nice fillers can be found, which is why rounding up the rating seems benevolently justifiable.
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