Laissez Fayre - A Review

Independent Spotlight is a continuing series on Stewart’s blog. The series revolves around independent artists and bands sending their music to Brett to review. No band is promised a positive review, and all music is reviewed honestly in an effort to better independent music.

In this afternoon’s edition of the Independent Spotlight, we’re going to spend some time with Laissez Fayre, an up and coming independent outfit with a particularly original mantra. The band was born out of a desire to  endorse the naturalist and nudist approaches to life, especially in the “under 40” age demographic. The band cites a massive range of sonic influence, too, classifying themselves as rock, pop, funk, jazz, rap, and several other styles. Consisting of Sarah Jane Edwards and Dario Western, Laissez Fayre is a dynamic duo that’s quite interesting. (Edwards recently joined the group, though, and Cassie Trent is the vocalist on these songs.)

Their mission is admirable, and something we all can support regardless of whether or not you’re a nudist. They want to end body shaming, reduce animal and planetary abuse, and continue to forge a path toward LGBTI equality. I love their name choice, too, because I’m fairly certain its a take on laissez-faire political ideals, which certainly align with their ideologies to some extent. How does their music stack up, though?

Let’s talk about the three tracks featured on the band’s Sound Cloud for the purposes of this review. ‘Botoxic (Highly Toxic Mix)’ is the first tune, something that seems to be a take on how botox and other similar procedures pump your body with toxins and unnatural elements. The production isn’t anything to write home about; it’s very simplistic. Trent falls out of tune from time to time, and she’s mixed far too high. Western is nicely accented, though, and he is the standout of the two. I’d argue the song would be far stronger if Trent was just turned down in the mix a bit. She’s too harsh, but otherwise, a work-in-progress.

‘Unisexual’ has an equally interesting message, and I love Western’s guitar musings. Again, though, Trent is mixed far too harshly. ‘Nekkid’ is far better on her vocals, and she’s much more likable when she isn’t mixed so harshly. Plus, I love hearing Western and the percussion section go to town in distortion. Thus, ‘Nekkid’ is the best-sounding endeavor of the three.

Laissez Fayre’s strongest element is undeniable Western. Trent isn’t the best vocalist, and she’s mixed far too harshly in two of the tracks. I suspect she could be much better if they find a more comfortable vibe (and key) for her and mix her a bit better. Thus, I think Laissez Fayre has incredible potential, and these songs act as demos of sorts in that direction.