There’s a feeling to the She-Devils’ “Come,” a sense of plastic wrapped anachronisms. The sound of 1950s pop loops in the background like a skipping record, while singer Audrey Ann beckons with each skip, spreading youthful sweet nothings between each dream-induced “come.”
And it is a dream. The charm comes from the way “Come” detaches itself from that Nuclear Age loop. Ann’s deadpan vocals, sounding aloof but still at home on a Greatest Hits of the 1950s showcase, roll over that aesthetic without really sinking in or giving way to it. And as her voice floats above the loop, signs of reality crack through with the electronics breaking behind the chorus.
She-Devils are a pair of Montreal newcomers whose sound flirts between a romantic attachment and hazy detachment for the swoon of a ’50s prom night. “Come,” that first single, might raise questions about that balance, but it’s hard to ignore the invitation of that chorus’s foggy one-liner: “come.”