(THIS POST ORIGINALLY APPEARS ON THE TWIN CITIES BLOG NEWEST INDUSTRY)
Nick Waterhouse, Flume & Chet Faker, Dum Dum Girls, & Kristoff Krane...
Well hello again, MP3 junkies! Welcome to Songs Of The Week #77!
For those of you who are new to the SOTW column, here's the story: TCDroogsma and MinneSarah are both fans of The Current's Song Of The Day podcast. They're also both opinionated and have access to computers. Seeing an opportunity to let them indulge in their MP3 habit and put them to work writing reviews we created the Songs Of The Week column. Over a year later later and here we are.
As always, we strongly suggest that you follow this link and subscribe to the podcast yourself. It's free and it's fun for the whole family!
To that end, once you've given each song a spin or two, feel free to cast a vote for your favorite song of the week in the poll to the right side of the page. The artist who accrues the most votes wins the validation that comes from winning an anonymous internet poll, arguably the loftiest height to which a modern musician can aspire.
As per tradition TCDroogsma and MinneSarah have not read each other's reviews prior to posting
So... Droogsy, Sarah... thoughts?
01. Nick Waterhouse - This Is A Game (from the album Holly)
TCDroogsma:
With "This Is A Game" Nick Waterhouse continues to work well within his wheelhouse of late 60's white boy R&B. As somebody who's isn't a fan of that genre, this one really didn't do it for me.
Most musicians loathe the term "revivalist," and I suppose I can their his point, but frankly, given how little originality Waterhouse brings to the table with "This Is A Game," the term seems appropriate. Now, that's not to say "This Is A Game" is a bad song, necessarily. Waterhouse does an fine job of downplaying his "this might work out, it might not, enjoy the ride..." lyrics by surrounding them with some swinging horns, organ solos, and a fine surf-rock guitar solo, but all of those things add up to something you've definitely heard before. I suppose that's really the rub when it comes to trying to revive a style: You want people to think, "Oh man, I haven't heard music like this is a minute!" while also hoping they don't think, "Oh, I see what he's doing here. Been there." "This Is A Game" is more the latter than the former.
MinneSarah:
If you walked into an underground club in California in the sixties, "This is a Game" could have been playing. The song exudes fifties/sixties bluesy vibe, with surfy electric guitar, saxophone, and electronic organ. Waterhouse's vocals aren't exceptionally bluesy, he's not trying to copy any specific singer, but it does stay true to the spirit of the time period complete with a energetic scream at the end. The lyrics are lighthearted yet dark.
What I like most about this song is that it seems that Waterhouse genuinely lives this era of music - it's pure homage to elements he admires of fifties and sixties rock/jazz/blues and he's not trying to jump on (nor start) a revival genre. The upbeat excitement is clear in every aspect of this song, and that makes it a solid listen.
Final Score - TCDroogsma: 2/5
MinneSarah: 3.5/5
02. Flume & Chet Faker - Drop The Game (from the EP Lockjaw)
TCDroogsma:
The first two or three times I listened to "Drop The Game" I couldn't quite place its sound. Its highly produced beat, its scratched vocals, its plaintive, straight-forward lyrics... I'd heard it before, but where?
Midweek it finally came to me. Flume & Chet Faker may not British (they're Aussies, and as such, are breaking a long line of awful Australian bands to turn up in this space), but "Drop The Game" sounds like Clinic having their way with a Coldplay song. Lyrically, the titular "game" is the way people hide their pasts as they enter into a new relationship (causing stress & insecurity) and the song fits that plea. The vocals are clear & upfront in the mix, while the wobbly, skewed vocals hint at the insecurity that's lead up to the conversation in the first place. This one was a grower and by the end of the week I'd gone from wondering what their influences were to wholeheartedly embracing the Flume & Chet Faker Show.
MinneSarah:
Electrohymnal. There, I said it.
"Drop the Game" is easy on the ears, guided by Faker's soulful vocals. The cadences are reminiscent of a hymn, but the end result is modern and sophisticated. Flume's beats are mellow but provocative, and the song guides seamlessly with high pitched "ohhh" dubbed as an additional push forward. Lyrically, it seems to be a cautious love song, "you are my sun" yet "you're not leaving with us." This sort of song is my favorite for long walks through urban areas - begging introspection over foot-tapping, but catchy none-the-less.
Final Score - TCDroogsma: 4/5
MinneSarah: 4/5
03. Dum Dum Girls - Rimbaub Eyes (from the album Too True)
TCDroogsma:
Let's get this out of the way right now: If you've heard the chorus to "Rimbaud Eyes," you've heard the whole song. It doesn't contain any lyrics except, "You got Rimbaud eyes," but that's the point. The rest of that massive chorus is filled with the type of lead guitar line that The Edge turned into a 40 year career. It's big, timeless, and perfect.
The rest of the song, however, is completely forgettable. Even after spending the last seven days with the song, I couldn't tell you what it's about (or even how the verses go). Does it matter? Not really. "Rimbaud Eyes" has it's roots in big, anthemic, 80's songs. Given how far we are from the 80's, that sounds comes off as more "timeless" than "dated." I've been pretty indifferent to the Dum Dum Girls songs I'd heard before this one, and even though that chorus is the only thing I remember, at least they've reached the point where they're belting out something memorable.
MinneSarah:
Based on what I've heard of the Dum Dum Girls, I don't ever remember them sounding as "eighties" as this song. "Rimbaud Eyes" (like the poet?) sounds like it was taken straight from an eighties movie score. It features punctuated guitar riffs that fade out, kicky drums, and a slightly overly-serious vocal delivery. While the song is dark and moody, there is still an upbeat spunk that makes it sound more mainstream. However, "Rimbaud Eyes" seems to fall from the mark of the more formative moody 80's synth music. While I love that genre to death, I'm not really feeling this as an ode to The Cure. It isn't an exceptionally memorable song, and over the course of the week, this song never infiltrated my thoughts past the last note.
Final Score - TCDroogsma: 3.5/5
MinneSarah: 2.5/5
04. Kristoff Krane - Aho (from the album I Freestyle Life)
TCDroogsma:
Let the record show that I'm a Kristoff Krane fan. I've seen him live many times both solo and as a member of groups (Face Candy & Puppy Dogs & Ice Cream) and I've enjoyed those shows immensely. On stage, Krane is a compelling performer whether freestyling or performing songs from his now-immense catalog. I have no doubt that, when he plays "Aho" live, he'll be able to have the whole crowd chanting "Clean water! Food! Air" along with him for as long as he feels like saying it.
Yet, try as I might, I struggle to get into his recorded work. "Aho," which is a new song and the opening track of a story-so-far-retrospective album is indicative of all the reasons I rarely find myself listening to Krane at home. Like many of his albums, it's just too long. Obviously Krane is a passionate man bursting with ideas, but too frequently they're presented all at once, which doesn't leave a lot of room for contemplation. It's a 5:0 opening salvo from an album that's 44 (!) tracks long, which, again, is indicative of the dilemma presented by Krane's recorded output. It's all too much.
The second dilemma I faced with "Aho," is the spirituality aspect of it. Again, Krane's an obviously thoughtful person, and it's admirable that he takes the time to explore the often-overlooked Native American experience in song, but it was exhausting listening to this one ever day this week. This is a common theme in many of Krane's albums. The songs work well once. After that, they began to feel like a chore. At his best (as with the song "Miracle" or much of the collaborative efforts on his excellent Fanfaronade album), Krane is able to find an idea, meditate on it, edit it down, and deliver a solid, concise song. With "Aho," the ideas and the energy are there, but it doesn't quite strike the balance between hip-hop & college lecture.
MinneSarah:
This spiritual offering from Kristoff Krane is part prayer, part signature positive hip hop. The minimalist beats showcase Krane's slow-to-fast delivery perfectly. Drawing from Native American mantras and folklore, lyrically "Aho" is guided by the sense of nature, family, and reverence for life. While here in Minnesota, the social history goes back further than its incorporation as a state, few musicians reference the state's original culture. While Native American culture slips further off the mainstream radar, Krane is in the minority of keeping those ideas alive and modern. Clocking in at five minutes, there is more than enough room for Krane to make his point. As he describes it, "Kindness via mindfulness" is his mantra and "Aho" is indeed a prayer.
Final Score - TCDroogsma: 2.5/5
MinneSarah: 3/5
Well there you have it, MP3 junkies! Another week's worth of songs downloaded, reviewed, & filed away!
As always, please keep in mind that neither Newest Industry nor our contributors are in any way affiliated with the artists above, The Current, or MPR. We're just music fans with laptops and a bit too much time on our hands.
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