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Fenomenon - Hourglass (beatservice Records)
So the 80s electroclash sound is now officially uncool, according to the music journalists that hyped it up in the first place. Thankfully unaware of the 'the 80s is so passe' fashionistas, or maybe because of it, Fenomenon have released an unashamedly pop album with a distinct 80s feel to it.Fenomenon is Kjetil 'Kay' Ingebretsen and Håvard 'Hobie' Rosenberg, yet another duo from the west coast of Norway (is there a production line somewhere, deep inside a secret fjord?). In 2000, they signed with London label Nuphonic and released two critically acclaimed EPs before Nuphonic was suddenly liquidated.
Rather than echoing the influences of Cabaret Voltaire and the Human League like so many before them, Fenomenon's sound is more Scritti Politti and Tears for Fears. Ingebretsen's voice on opener and last year's single 'Lucy Said' sounds like Scritti Politti's main man Green has been dusted off and brought back to life. 'Space Continuum' is a delicious slice of broken beat and sounds very much like fellow countrymen Røyksopp.
'Time' puts me in mind of another 80s favourite, Level42, but not in a bad way.'Daytime TV' and 'Hypersleep' are both uplifting, with the latter providing some lovely funky strings. Next single 'Trouble Takes Flight' features guest vocalist Thomas Dybdahl and treads a very dubious line between Lloyd Cole and George Michael.
Wearing their influences totally on their sleeve is a 'love it or loathe it' cover of Tears for Fears' 'Everybody Wants To Rule The World'. The track sounds like it was produced very tongue in cheek, as it comes across sounding like it was made to sound like a bad Casio keyboard demo song. If it was indeed produced as some kind of hommage to TFF, then it fails miserably. Despite all the odds though, the song is so familiar and strong that it just, and only just, works... possibly. Be prepared with the 'Skip' button, you have been warned.
'Restless' enters Giorgio Moroder territory with a wicked bass synth doing octave runs over a broken-ish beat. Final track 'Sleepy Meadows Of Buxton' is a chilled closer that had me wondering if Fenomenon had ever been to England's highest town. I've been there many times but did not notice many sleepy meadows. Maybe I'm not looking hard enough.
However, despite all the 80s sounding samples, synths and synth drums, Hourglass does stand on its own 21st century feet. The album doesn't veer into nostalgia, and in true 80s style keeps the gloss very much to the surface - what you hear is what you get. If you like 20 year old pop without all the electroclash art school nonsense, coupled with today's production and some dance music sensibilities then you will enjoy Fenomenon.
Soyo
Written: 7th Jul, 04
Read: 3178 times
