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Forays into medieval trip-hop ("The Last Laugh") and reggae-influenced indie pop ("Jelly Bean") stretch the boundaries of the album's bedrock, but it's fun to see folk music take such unexpected turns, especially when the destination sounds this enchanting.
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Populating that lyrical forest are knights, goblins, talking animals and ticking (shades of Peter Pan crocodiles), Costas spinning her offbeat tales like a young Suzanne Vega setting Brothers Grimm fables to music. It's all melodically accessible.
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MojoThe results are truly beguiling. [Jul 2009, p.104]
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It is to Costas and Burton's credit that they have fashioned such an enchanting album from such an unpromising premise.
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Food-obsessed lyrics tinged with medieval mischief.
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Q MagazineThe collaboration between British singer-songwriter Helena Costas and US hip-hop producer Danger Mouse, for a project called Joker's Daughter, seems unlikely, but it works surprisingly well. [Jul 2009, p.124]
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The result is a sparkling debut for her and one of his most interesting collaborations.
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Costas coos anachronistically whimsical and hallucinatory lyrics as if she were the ghost of an ill-fated fairy-tale heroine, and the haunted results suggest the greatest psych-folk obscurity you'll never afford on eBay.
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Under The RadarCostas seemingly sifts through a junk shop toy instrumentation throughout The Last Laugh, and more often than not serendipitously find gold. [Spring 2009, p.66]
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Ultimately this odd couple have made for a very merry musical marriage, artists from seemingly disparate musical backgrounds proving themselves capable of collaborating on music that is worth listening to in its own right, as opposed to merely being a interesting genre-crossing exercise.