When you think about it, it’s surprising that a band as prominent and influential as Warpaint have only released two full length albums. Having recently celebrated their tenth anniversary, a decade in which they’ve established a name synonymous with modern incarnations of dreamy, understated indie-groove, it’s quite incredible that their output has been so paltry. With a third effort not on the immediate horizon either it’s lucky that someone decided to try their hand at a solo effort; ‘Right On!’ is the work of bassist Jenny Lee Lindberg, and with it we catch a glimpse of the dark beating heart of Warpaint.

Released under the shortened moniker Jennylee, ‘Right On!’ sounds, for the most part, like what you’d expect. An often stripped back affair with guitars frequently overshadowed by bass, percussion and the silent voids between sounds, it’s the result of taking the bassist out of the band and giving her free reign and centre stage.

Like the cover art, Jenny Lee stands alone amidst ever encroaching darkness, producing bursts of colour from deep inside the night with a half knowing, playful smirk. ‘He Fresh’ stands out in this way for its shuffling RnB beat and dead-eyed, pouting croon: “He’s smooth like butter/I’m rubbing over my skin/He’s so fresh/He’s so fresh.” It’s stylish, sexy, and brilliantly confused, like Jessie Ware playing dress up with Robert Smith’s wardrobe. It’s the midpoint of the album, sandwiched between opening and closing slow-burners ‘Blind’ and ‘Real Life’, which establish the album as taking place in some kind of dreamland or imagined Narnia.

Personal ingredients brought to the table and usually diluted down in Warpaint reveal themselves starkly and unimpeded throughout – Siouxsie and the Banshees, The Cure and Joy Division are the most noticeable tags left behind on the cold and barren warehouses of ‘Right On!’, ‘Boom Boom’ and ‘Never’ being particularly stark. Both are built around chugging basslines and minimal yet precise instrumentation, the latter striking ‘Unknown Pleasures’ in its tempo and production, and the former sounding even more industrial and bleak as Jenny sings “Society is anxiety” in a vocal all the more ominous for its silken delivery.

Everything hangs together delicately and the odd stray note or stunted lead riff adds to the precariousness. ‘Long Lonely Winter’ is similarly sparse, reminiscent of those artists spawned in Warpaint’s wake – Tamaryn, Still Corners etc. – but when those synths buzz and the first snare hit rings out, it’s masterfully composed so that each beat, pulse and pluck leaves behind an inky trail.

In ‘Bully’ this approach strikes out too close to the transitory side of the spectrum and it comes and goes without much impression, but followed up with ‘Riot’ and ‘Offerings’, two fiery Sexwitch incantations, and all is forgotten. This is the other side to the album – a sinister doppelganger of double tracked yelping and satanic screeching, culminating in the pagan dark-wave of ‘White Devil’. Though it’s cathartic and menacing, it’s also delivered a little through the eyes of childish wonder; the stray giggle halfway through encapsulating this balance that lies at the core of ‘Right On!’s appeal. For every grinding bass line and neo-noir soundscape there’s a splash of child-like frivolity round the corner.