A foggy haze of smoke and lights surrounds Brooklyn band Slowdance's dark video of their new single “Boyfriend.” Originally released as a 7” on White Iris records, the song is a playful take on efforts which can be made to keep things exciting in a long-term relationship (a thick fog and darkness always help when your partner is getting old and fat). The band's pop tendencies keep things light as usual, but an element of melancholia seeps through the steam.
Curiously, at one point a man in an American flag button-up dismounts a motorcycle with an overlay of sparklers - an image which ironically, in one shot, represents the duality of bilingual singer Quinn-Settel (English and French) - since sparkles for some reason bring to mind many French things (champagne, glittery fashion, and a French guy I met once who couldn't light his cigarette). - Christine Cauthen
"Uptempo" and "Pop" are by themselves two concepts that - in the business of being an indie band - can take you quite far; but if on top of that you add to the equation also comparisons to The Smiths, then the hype can get out of control. Brooklyn's Drowners have more than one similarity with Morrisey's act, and although they will surely feel belittled by such comparison, they should not, because no artists really managed to be The Smiths' worthy musical heir yet (like, for example, XTC were for The Beatles, Robin Hitchcock for Syd Barrett, and The Strokes for Lou Reed - uhm, maybe...).
The band's 3 songs debut EP features the remarkable single "Between Us Girls" (streaming below) which immediately throws us back to the days of "Meat is Murder," with the electric guitar alternating between jangly parts and arpeggios, and Welsh frontman Matt Hitt singing semi-melancholically about some girls' hair length - rather than about how big they are... The edge is slightly punkier, while the songwriting reveals an almost clinical concision (the song clocks in just under 2 minutes, with the first chorus coming in after 26" - A&R allergic to intros will dig that).
The second song, "You've Got it All Wrong," beats a similar musical path, tackling the infinite well of inspiration that (for Brits) is life at the pub, with the difference of a slower bridge, which acts as a breather for the final chorus. Final track "A Shell Across the Tongue" is the punkier of the bunch, but also the one with the least memorable melody.
This is obviously a band with enormous songwriting potential. If they'll manage to write songs as good as these and integrate their influences in a more mature and personal sound, the world can be theirs. - PDG