After their debut album was nominated for the Mercury Music Prize, their then label, Modular, dropped them for a variety of reasons that ranged from the mysterious to the absolutely ridiculous. The cynic inside me says that they foresaw that downfall of the NME marketed “nu-rave concept” which NYPC had been unfairly lumped into.
This time around, “The Optimist” does everything that “Fantastic Playroom” did so well, but harder, more deviously and without even putting a single foot into the frustratingly mundane. Track upon track and listen upon listen screams with characteristic passion that NYPC far surpass the nu-rave gimmick and glut of bands that they were forced to associate themselves with. Everything, from standout single “Chaos” to title track “The Optimist”, seems sturdier, more intelligent, yet still engaging and expressive of Tahita Bulman’s charisma. Modular must be seeing the error of their ways.
The much more than impressive debut album “WHB” will not do any of the following things:
have the Official Charts Company struggling to count sales
inhabit such a seminal place in music history that all music made after it will be referred to as “post-WHB”
But, really, what were you all expecting? Neither of those two points matter, at all, because “WHB” is equally and consistently bold, confident and, ultimately, the ridiculously energetic album that we were all hoping for. Innovative percussion that suggests they have banged, prodded and slapped most of the objects in their kitchen until the right sound emerged is arguably the centrepiece of both their album and live show (more than worth going to see, seriously) will no doubt become a regular in all the right clubs all around the country, and that, if not rampaging chart success, was exactly what this record was made for.
PS: Just a quick update on a few changes to the blog. You might have noticed a subtle change to the quite brilliant header that is still made by the quite brilliant Adam Sarpalius. More importantly though, I’ve been evaluating how this whole operation runs… and have come to the conclusion that I spend far too long trying to write dissertation level 1000 word essays on issues. Unfortunately, the result of a few of these unavoidable outburts has left me feeling like I have a standard to adhere to in writing almost uselessly long posts, and as a consequence, writing became a bit of a chore and I write less often than I’d like to. In future, posts and reviews will be much more concise, quick, and often (because there is so much music that I just don’t get the chance to write about). I’m sure I’ll still get the urge to write 2000 words on why I hate Simon Cowell at certain points, but it just won’t be every post now. Guess I’m just a noisy bastard.
Must of these posts centre around the unlikely premise that we know exactly what is going to happen in the “music industry” in the next few months, but this one, focusing in on Brooklyn two piece Savoir Adore, is more of a confession that we’ve completely missed what’s been going on. Whilst we were still trying to figure out whether Hurts were an evil tentacle of a major label or a genuinely decent pop duo (verdict: more evil than Darth Hitler on mephedrone; consistently shit boy-band-rejected songs dressed up as cutting edge “Italo Pop” only confirm how pretentious, talentless and contrived they are) back last September, Savoir Adore released their debut album “In The Wooded Forest”. Casting our eyes back to what the internet was saying about them back then, it seems that all the right people with their eyes in all the right places were of the opinion that Savoir Adore were the best thing to happen to the Brooklyn music scene, well, ever.
As I said, at the time we were wasting precious minutes scouting out obscure Hurts songs, so we have only recently come to this conclusion. There are a couple of important points to make, though. Firstly, I’m pretty sure that Savoir Adore actually floated under most people’s radars, and are only just picking up pace after some great SXSW performances. Secondly, we do have the chance to repent as April 26th sees the release of their debut UK single, “Bodies”. To all those not in the UK, well, sorry, but you’re going to hell.
To call Savoir Adore an “indie” band could barely be more of an insult, but is just about the long and short of it. Though to most of us the word “indie” conjures up unpleasant memories of a foolish youth listening to major label approved spotty kids with telecasters and bad jokes, Brooklyn just doesn’t do things that way. Fortunately, Savoir Adore are more interested in brilliantly soaring melodies and enormous amounts of variation and originality than embarrassing haircuts and repetitive power chords. Creativity literally falls out of every song like an alcoholic out of a pub. But with more finesse.
If you have managed to avert your gaze from their steady rise to recognition then let the couple of mp3s below end that. No excuse exists; you can download three of their songs for free here. Finally, I’ve just found out that the debut album was never released in the UK, and its actual physical release is pencilled in for 5th July. Music related hell narrowly averted, no redemption necessary. Now officially New Noise, and one of our highest hopes for the year.
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