New York City’s Savoir Adore has a new album out, the duo’s third, whose overt theme of eros transmits simply enough. Yet first impressions can be deceiving, as we’ll soon learn. Titled Our Nature, the album’s noisy indie-electro sound feels a cleaner, more fully-realized version of the drowsy bedroom synthpop that has dominated Brooklyn dance music for the past five years. Our Nature’s lead single, “Dreamers,” works something like a dialogue between two star-crossed lovers in a romantic dreamscape, the duo singing to eachother as one might expect Orpheus to Eurydice, Abelard to Heloise or, ahem, Sonny to Cher.Yet as The Deli found out in our interview with Savoir Adore, the duo are neither a real-life couple, nor are the lovers in the album’s larger narrative both fully human.The duo played tonight (10.9) at Brooklyn's Knitting Factory, for the release of their album 'Our Nature', which is available to pre-order on iTunes, and will officially come out on October 16th. Read Brian Chidester's interview with Savoir Adore here.
"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