Stiletto – ‘You Know…Like The Shoe. Or the Knife…We Don’t Know Yet’

(Independent)

There are some albums that merely remind you of a particular era, and then there are albums that appear to have discovered a secret portal back through time and emerged blinking into the modern world wearing shoulder pads, hairspray and an aggressively large pair of sunglasses. Stiletto’s You Know...Like The Shoe. Or The Knife...We Don't Know Yet is very much the latter.

If you have a soft spot for Eighties Melodic Rock and AOR, then this is going to feel like discovering an old friend you never knew you had. Stiletto don’t simply borrow a few retro touches and sprinkle them over a modern production. They absolutely revel in their Eighties identity, embracing the melodies, arrangements, vocal styling and glossy atmosphere of the era with both hands. And you know what? I love them for it.

There is something wonderfully refreshing about a band that isn't afraid to wear its influences proudly. In an age when so many modern rock records seem determined to sound contemporary, Stiletto have gone in precisely the opposite direction. This is music with a deliberate vintage character, but there is nothing dusty or dated about it. Instead, the band have taken everything that made Eighties AOR so damn addictive and given it a fresh lease of life.

We're talking huge melodic sensibilities, polished arrangements, memorable hooks and that unmistakable sense that every chorus should be delivered with the windows down and the stereo turned up far louder than is strictly necessary.

But let's get straight to the biggest revelation here: vocalist Noelle Barton. Wow! Seriously, where has this woman been hiding? Barton delivers a performance that sounds like it has been beamed in directly from the golden age of female-fronted Melodic Rock. There is power, clarity, emotion and an effortless confidence to her delivery that immediately grabbed my attention. She doesn't sound like someone attempting to recreate an Eighties vocal style; she sounds like she belongs there.

There is a warmth to her voice that immediately reminded me why I fell in love with this particular corner of rock music in the first place. She can soar when required, but there is also plenty of personality in her delivery. She knows when to push and when to pull back, giving the material an emotional dimension that prevents all those glossy melodies from becoming merely nostalgic window dressing.

And I'm calling it now: Noelle Barton is joining my favourite singers list. That's how impressed I am.

For fans of Robin Beck, Fiona and Dante Fox, there is an awful lot here to get excited about. Those comparisons aren't simply based on the fact that Stiletto feature a female vocalist. It's the whole aesthetic, the combination of strong melodic songwriting, emotional vocals, polished AOR musicianship and that delicious Eighties sense of drama.

Andi Sarandopoulos’s guitar work sits beautifully within the arrangements, providing enough crunch and attitude without ever overpowering the melodies. This is an album where the song always comes first, and that's something I really appreciate. The musicianship is tight, but Stiletto aren't interested in showing off for the sake of it. Everything serves the bigger picture.

And then there are those keyboards. Of course there are keyboards!

You simply cannot embrace Eighties AOR properly without understanding the importance of those lush atmospheric sounds, and Stiletto clearly understand the assignment. Alex Zackrisson’s keyboards help provide much of the album's character, filling out the arrangements and giving the songs that wonderfully polished sheen. They add atmosphere, depth and, most importantly, that unmistakable nostalgic glow.

But nostalgia alone won't carry an album, and thankfully Stiletto have more than enough substance beneath the retro styling. The songwriting is strong throughout, with a real understanding of how to construct melodies that stick in your head. There is a natural ebb and flow to the album, balancing the more energetic moments with material that allows Barton to really showcase the emotional side of her voice.

What particularly impresses me is how sincere the whole thing feels. There is no sense that Stiletto are jumping on some fashionable retro bandwagon. They genuinely seem to love this music. You can hear that affection in every shimmering keyboard line, every melodic guitar passage and every soaring vocal. And that's why the Eighties aesthetic works so well.

This isn't parody. It isn't pastiche. It isn't a band desperately trying to convince us they're living in 1986. Instead, Stiletto have taken the spirit of that era and made it their own. The result is an album that feels gloriously familiar while still sounding like a band with something to say.

You Know...Like The Shoe. Or The Knife...We Don't Know Yet is also blessed with a sense of fun. Let's face it, you have to admire a band with a title like that. But behind the playful exterior is a seriously accomplished Melodic Rock outfit, and I suspect this is only the beginning of what Stiletto are capable of.

For me, the real star is Barton. Her voice gives the album its identity and emotional centre, and I'm genuinely excited to hear where she goes next. There are singers who are technically impressive, and then there are singers who make you stop what you're doing and listen. Barton belongs firmly in the second category.

If you grew up loving the golden age of female-fronted AOR, or if you simply miss melodic rock that isn't afraid to be melodic, polished and unapologetically emotional, then Stiletto deserve your attention.

This is Eighties Melodic Rock with its heart proudly pinned to its sleeve, big melodies, gorgeous vocals, keyboards, guitars and enough retro atmosphere to make me want to dig out the hairspray. And I'm absolutely here for it.

Stiletto may not know whether they're the shoe or the knife yet, but one thing is certain: they've definitely hit the target.

The perfect way to kick things off, ‘Witching Hour’ immediately establishes exactly where Stiletto's heart lies. There is a deliciously retro AOR feel running through the song, with polished instrumentation, melodic guitar work and those wonderfully atmospheric Eighties touches. And then Noelle Barton arrives, sounding like she has stepped straight out of a classic female-fronted rock record. Her voice has bags of character, delivering the melody with confidence and emotion. It's an opening statement that says Stiletto aren't here to apologise for their influences, they're here to celebrate them.

This is where the melodic side of Stiletto really shines. ‘I’d Give It All’ has that wonderfully accessible AOR quality that makes you want to sing along after only a couple of listens. Barton is superb, balancing power with a softer emotional edge that gives the song plenty of heart. The arrangement has that classic Eighties polish without becoming overly slick, while the hooks are exactly where they need to be. There's something wonderfully familiar about it, yet Stiletto give the material enough personality to ensure it doesn't simply feel like a nostalgia exercise.

‘Going Under’ brings a little more urgency to proceedings, with a stronger rock edge underpinning those unmistakable melodic instincts. The guitars have a bit more bite, while the rhythm section gives the song plenty of forward momentum. Once again, Barton is the star attraction. She has an ability to make even the most polished AOR material sound emotionally convincing, and that really comes across here. This is melodic rock with enough attitude to stop it becoming background music.

Here's another slice of classic Eighties-inspired AOR that gets the balance between melody and rock absolutely right. ‘Leave It All Behind’ has an uplifting quality that makes it incredibly easy to get caught up in. The keyboards add atmosphere, the guitars provide the muscle and Barton delivers another fantastic vocal performance. There is a real sense of movement to the song, both musically and emotionally, making it one of those tracks that feels tailor-made for a long drive with the stereo turned up.

‘Sorry’ slows the pace slightly and allows Stiletto to explore their more emotional side. This is where Barton's voice really gets under the skin. There is vulnerability here, but she never loses that strength and presence that make her such a compelling vocalist. The arrangement gives the melody plenty of breathing space, allowing the emotional weight to come through naturally. It's a beautifully judged piece of AOR that demonstrates there's considerably more to Stiletto than retro styling and catchy choruses.

A fitting way to bring the record home, ‘Move On’ leaves us with another strong dose of melodic rock goodness. The song carries a sense of optimism and forward motion, perfectly suited to Barton's confident vocal delivery. It's polished, catchy and thoroughly Eighties without ever sounding like a cheap imitation. By this point, the appeal of Stiletto is crystal clear: they understand the importance of melody, emotion and a great vocal performance. ‘Move On’ closes things out on a high and leaves me wanting considerably more from this very promising band.

Stiletto have absolutely nailed what makes Eighties Melodic Rock so addictive. You Know...Like The Shoe. Or The Knife...We Don't Know Yet is packed with gorgeous melodies, glossy AOR production, crunchy guitars and enough retro atmosphere to make me want to raid the nearest vintage record shop. But the real revelation is Noelle Barton. What a voice! She brings power, emotion and genuine personality to every moment, and I have no hesitation in adding her to my favourite singers list. Fans of Robin Beck, Fiona and Dante Fox really need to hear this. This is unapologetically Eighties, completely melodic and bursting with character. Stiletto have brought the golden age of AOR roaring back to life and I’m overjoyed they did!

9/10

Essential Track – ‘Going Under’

Review by Woody