NO PLEASE NEEDED: CHLOE SLATER’S NEW EP LOVE ME PLEASE

EP REVIEW | CHLOE SLATER – LOVE ME PLEASE by Isobel O’Mahony

Chloe Slater has wrapped her dynamic social commentary in a bow with her new EP Love Me Please. The indie rock artist has been on the rise thanks to her bold sound and bolder lyrics. The new EP tackles the modern world in an often aggravated yet perfectly justified way and shows us why Slater deserves to be on the cover of NME and on multiple stages of the festival circuit this year.

‘Tiny Screens’ and ‘Sucker’ brilliantly take on Slaters to and on the point perspective of society and politics through a brilliant riot grrrl lens. “Let’s get big on tiny screens” and “we need to know we’ve made a change before our time has come” are two small examples of the artist’s truthful and often witty observations. She sometimes swaps her chosen word- type style to give us some shining vocals, obviously over some more than healthy drums (for sound and soul).

‘Fig Tree’ and ‘We’re not the same’ carry a similar marriage of strong lyrics and strong sound that is bound to propel Slater far. ‘We’re not the same’ has great bass that you can only imagine would feel amazing live but ‘Fig Tree’ is the shining star of the EP. Its reminiscent, in my opinion, of a strange mix of Blur and The Smashing Pumpkins; it has a soul to it that rocks hard. 

The title refers to Syliva Plath’s fig tree analogy (if you know you know) and summarises the loud and obnoxious juxtapositions of what it is to be a woman today; the forever frustrating female experience. It’s a tune that understands its audience and its own social context and desolate being very on the nose, does not shrivel into itself. It’s a track that is just very Chloe Slater.

‘Imposter’ stands apart in my mind from the rest of the EP, as a slower, lighter track. Although, this is not to say it is any less deliberate or strong as a tune. It’s an acoustic shift that was unexpected, but wraps up the album well. Instead of looking out to the world, Chloe looks into herself and it feels as if she’s trying to run home in her head. It has honest lyrics, lovely vocals and emphasises her skill with the timing of her musicality and lyricism – everywhere fits where it maybe wouldn’t go, but definitely should.

Chloe Slater’s second EP (after her debut You Can’t Put a Price on Fun in 2024) is a true testament to her talent. As an artist she has found and is honing her sound and is constantly reflecting throughout the album, musically and through her words. This is a very strong record for this rising artist and Slater shows promise in joining some of the big boys of the social commentary indie rock world.

Chloe’s sold out headline UK tour begins in Glasgow this month.

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Isobel O'Mahony

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