What price reinvention? If you asked us, I Blame Coco didn’t need to be consigned to the bin of pop history. But the name proved oddly prophetic, as the scion of Sting turned inward after mixed commercial reception, and now returns as the unvarnished Eliot Sumner.
And with this trade-off comes a degree of seriousness that ultimately does Information a disservice. Sumner has a very distinct tone, a depth and husk that few her age can control, and it sets her apart from the get-go on Dead Arms & Dead Legs. But there are endless rock riffs surrounding her that seem to swamp her in the sense that they’re way inferior to her charms. Even when her inflection unmistakably matches poppa dearest on Let My Love Lie On Your Life, she still shines brighter than the production around her.
Ultimately, that’s what lets Sumner down. Sure she can sing about depression and darkness, but it feels like it’s in the completely wrong package. Halfway To Hell has dad-guitar that ages Sumner at least a decade and sets her back an extra two. Come Friday is the only point that the record seems to come up for air in the wilderness of its own chords, but the rest remains too wearing to repeat. Point of Information? It’s very hard to find one, to be honest.