Misun – Superstitions

Female vocalists in bands are a little rare nowadays. You can see the attraction to try and make it work, but after a few band jams, they usually fizzle away and amount to the pricey sum of falling out with a hot girl who used to like you, but now is writing ferocious slurs on Facebook about how she thought she was too good for the group anyway. Fortunately, Misun have an absolutely gem of a lead vocalist. Blending MNDR and Shingai Shoniwa (Noisettes) gives you a general idea of what were dealing with.


Superstitions see Misun at their guitar driven best and still eager to push into new territories.

Sassy, carefree and a little naive. Misun’s album Superstitions certainly panders to that way of thinking. Opening track Eli Eli, has to be by far, the best of the lot. An exquisite, 60’s go-go number, complete with Kills-esque twang and the sort of attitude only gained by watching Kubrick’s Lolita on repeat. What a way to open a record.

The 60’s psych continues as we slide over into second track Baby. “Set me down and tell me you love me.” purrs the slinky lead vocalist. How could you not fall in love with these vocals? Calm and collected, the delivery is simultaneously precise and loose. Another backbeat 60’s psychedelia track pops up at track number three and I have myself thinking – is this it? Not quite.

Track four startles. Synths? Is this the same album? Indeed it is, and Misun have taken the bold approach of completely changing up their style after playing it safe with jangly guitars and backbeats. Although, there is no shame in sticking to a genre and believing in it and this new offering is slightly hollow. At least the 60’s inspired efforts had soul. Little can be said about the numbers which are haphazardly scattered between the 60’s psychedelia Ya-Ya. The uncertainty of not knowing what is coming next, leaves the listener slightly uneasy.

Fortunately, Misun return to true form with the fragile and sparsely produced Goodbye Summer. Guitars delicately shower the track and nothing overshadows the effortless real emotion found within the beautiful lyrics. This is the sort of chanson that strikes at the heart of any emotionally charged listener. Misun do this well and I can’t help but feel a little hard done by, as the electro tracks feel like filler to an otherwise great feeling record.

The album is brought to a close with the impeccable Human. An obscure sounding layer of guitars which create a riff of sorts leads the track, again, sparsely produced and again, definitely reaping the benefits. Lines such as “We could use our hearts, instead of playing games.” captivate exactly what Misun should be about.

A slightly bi-polar sounding record with two flavours competing for your attention. Misun should pick a genre and stick to it, because as is evident with the effortlessly cool tracks such as Penny – they did do a massive justice to at least half the album.