FEVER RAY — ‘Plunge’
THE GOOD: Swedish singer-songwriter and electronic artist Karin Dreijer (half of the Knife with her brother Olof) comes back with a long overdue (nine years) second solo album under the moniker Fever Ray.
THE BAD: Not here.
THE NITTY GRITTY: A lot has happened musically, culturally and politically since Ray’s eponymous debut in early 2009. Because of all that advancement, “Plunge” could have come off as immediately dated or behind the times. No worries — Dreijer has weathered every storm and kept up brilliantly.
“Plunge” is a triumph. Much more focused and tighter than the Knife’s work, the album is a buzzing, clicking, pulsating collection of electronic pop songs — GLORIOUSLY WEIRD AND SEDUCTIVE electronic pop songs. Lyrically half political and half in love (lust?), these tracks ride rhythms both pounding and fragile while the melodies across the top are either graceful or sing-song simple.
“Plunge” ends up a varied, unpredictable set where not one experiment comes up short. The almost decade-long wait was worth it.
BUY IT?: Yes.
PORCHES — ‘The House’
THE GOOD: Porches — essentially New York-based musician Aaron Maine and some rotating musicians — delves deeper into electronic pop on its third.
THE BAD: “The House” has its share of great songs but also succumbs to a fair amount of mini-tunes that feel unfinished (can you say “filler”?). You take the strong with the weak.
THE NITTY GRITTY: But when Maine truly focuses, the end results are stunning. Driven tracks such as the shimmering and slightly paranoid “Find Me” and the snappy yet delicate “Anymore” immediately pull you in with their seamless beats and confident melodies.
But just as the momentum builds, it also crashes sooner or later. Varying moods and tempos usually work. Here, however, they detract from the album’s overall clout. At times, “The House” comes off like a better-than-most B-sides collection instead of an accomplished, proper album.
Despite its shortcomings, though, the record is worth your time and still makes us hopeful for Porches’ future. We’ll gladly take more Maine somewhere down the line.
BUY IT?: Your decision.
MOBY — ‘Everything Was Beautiful and Nothing Hurt’
THE GOOD: DJ/producer/electronic artist Moby releases his 15th full-length album.
THE BAD: Sequencing?
THE NITTY GRITTY: “Nothing Hurt” gets off to such a strong start that you begin to think this may be the man’s best album since 1999 masterpiece “Play.” The multi-layered, sinister shuffle carrying epic opener “Mere Anarchy,” the angelic overtones coloring the seamless “The Waste of Suns,” the brooding funk pulling us into “Like a Motherless Child” — all of it is simply brilliant. Somewhere around track five or six, however, things begin to fizzle.
Once you hit its middle, “Nothing Hurt” becomes one mood, one tempo, one outlook — all of it pretty down and bleak. “The Sorrow Tree” ramps up slightly, but it’s not enough to keep the momentum from almost dying off completely. Moby’s not happy in Trump’s America; we get it. Without even the slightest change in tone or form, though, these trip-hop-flavored electronic pieces begin to bleed together, and some of the messages get lost.
BUY IT?: Your call.