The Pretty Reckless – “Other Worlds”

For anyone starting a band, it can be quite a daunting experience. You must have self-confidence in your ability to perform, to play, to write; you must have thick skin to take criticism; you get knocked back? You keep pushing, as you try so hard to make a name for yourself. It’s an uphill struggle to say the very least, as the industry can be ruthless. OR. You could be an already established actress like, Taylor Momsen for example, and decide “Gillmore Girls” simply isn’t edgy enough for you anymore, and if the Grinch can steal fucking Christmas, well, you can steal a genre of music… 

That might sound a little bit bitchy, because it was, BUT, there’s a point to be made here. Taylor may have already had the fame, the publicity and the recognition behind her, meaning half the battle was already won…but technically now, she needs to work twice as hard. Rock and metal fans aren’t stupid, they will see right through you, and they WILL call you out. Taylor, when creating THE PRETTY RECKLESS knew this, and credit to her she’s got some respectable influences, though while she still gets her kegs off, puts bits of electrical tape over her nipples and uses herself as a marketing tool, she does respect rock ‘n’ roll.  

With that said, following on from 2021’s commercially successful “Death By Rock ‘N’ Roll”, we find the post-grunge posse returning sooner than expected, with a somewhat stripped back, cover-rich acoustic affair courtesy of “Other Worlds”. The question is, will it make ME wanna’ die? There’s only one way to find out… 

We open with a remix of “Got So High”, and I don’t know about you, but when I get high, I become an actual vegetable. How Ozzy functions day-to-day I have no idea, but I respect the man’s endurance. I digress. It’s such a lulled piece of stripped back instrumentation with, hushed, almost whispered vocals, it’s got an almost 90’s era Brit Pop vibe to it. In a weird way it’s like, Sharleen Spiteri meets PULP or THE VERVE and, it’s a sweet little number.

It seemingly hints at the pitfalls of fame; that high of public recognition and adoration, but once you’ve gone up, really the only way is down. The moment is incredible while it lasts, but don’t bank on it, and it’s something people can learn from. This is quite potentially self-aware. Admittedly she speaks of depression and substance abuse too, following the deaths of friend and producer KATO KHANDWALA, also peer CHRIS CORNELL, and this entire track could be referring to an amygdala hijack. The awareness of negative headspace and it’s causes.  

2021’s “Death By Rock ‘N’ Roll” does feature prominently on this record with a good half of the album being made up of acoustic re-recordings and alternate versions. “25” houses this deeply dramatic piece of music, fueled by simple yet commanding piano keys, laying the foundation for Taylor’s powerfully raspy vocals, and it’s beautifully delivered. This could genuinely be a Bond theme. The title track then houses a wonderfully rhythmic blues feel, and you can’t help but picture yourself sat on the rickety porch of your house in outback Texas, enjoying a warm summer evening, sipping a Lone Star Original, stroking the barrel of a gun like it’s a family pet.

The other half of the album then, is cover heavy as suggested, and a fair deal of it is an open love letter to the late Chris Cornell. The Pretty Reckless opened for SOUNDGARDEN’s final show before Cornell’s suicide, and this only strengthened Momsen’s connection with the late singer, and the band do their bit to pay homage to the man here. “Loud Love” channels that grunge-rich guitar vibe the band already do effectively, but Momsen’s vocals get annoyingly shouty on the chorus segments. She’s just loud, no love here. “The Keeper” is an up-tempo acoustic rendition, with almost folkish tendencies in its campfire delivery and it’s got a quaint appeal. 

 “Halfway There” really hammers home that grunge influence with some very NIRVANA-esque guitars kicking this one off, while remaining in that stripped back acoustic soundscape. It manages to come across as lively and laid-back simultaneously, credit to them. There are other covers thrown in for good measure may I add…namely “Quicksand” by the late DAVID BOWIE, and “(What’s So Funny ‘Bout) Peace, Love And Understanding” by ELVIS COSTELLO. They’re fine as covers and fit in to the album’s overall presentation, but there’s nothing truly remarkable or breath-taking about either of them, it’s just nice to know she does appreciate songwriters and artists of that caliber.  

All in all, while fans might appreciate this additional content, it seems a bit thrown together. The acoustic renditions of last year’s release may as well have been kept for a complete acoustic re-release of the whole album, and the covers could have been a stand-alone EP ideally. They could have easily done one or the other, or even both truth be told, and marketed them well. As it stands though, as one record, it just feels like a mishmash of demo’s or rough-drafts from the “Death By Rock ‘N’ Roll” writing sessions, and I believe they’ve missed a trick just bundling this together. Pretty reckless if you ask me.

Score: 4/10

Track List:

1. 1. “Got So High” (Remix)
   2.  “Loud Love”
   3.  “The Keeper” (feat. Alain Johannes)
   4.  “Quicksand” (feat. Mike Garson)
   5.  “25” (Acoustic)
   6.  “Only You Can Save Me Now” (Acoustic)
   7.  “Death By Rock And Roll” (Acoustic)
   8.  “Halfway There” (feat. Matt Cameron)
   9.  “(What’s So Funny ‘Bout) Peace, Love And Understanding” 
   10.  “Harley Darling” (Acoustic)
   11.  “Got So High” (Album Version)

       Release Date: November 4th

       Record Label: Century Media

       For all things Pretty Reckless, click HERE and to purchase the album, click HERE