Review Summary: A superb, if not triumphant second album.
The mainstream can be a harrowing experience for artists on the rise. We've all seen the decline in quality of numerous acts when crunch time comes. But the scenario seems all too familiar to us now. An artist/group release their debut, which is met with acclaim, the pressure mounts to top the said album, confusion and desperation ensues, and a lackluster product of underwhelming potential is exposed. And this rule just doesn't apply to debut albums, it's a virus that can be contracted at any point in a musicians career.
Thomas Dolby, thankfully, is a rare exception to this rule. His previous album, which was also his debut: The Golden Age of Wireless, was a commercial success, pioneering a new genre of popular music called "synth-pop." New wave had just took off in the charts, and Dolby took the sound a step further, crafting an unlikely hit in the process called "she blinded me with science." His debut then went on to showcase the power of Dolby's genius when it came to utilizing synth and electronics unfamiliar to pop music. It was safe to say he was on the rise.
So, Dolby's follow up album: The Flat Earth, comes as a bit of a shock to critics and fans alike. Out of the 7 tracks present, only 2 (at a push) can be compared to the style of music on his debut. Furthermore, those 2 tracks are the only tracks on this album that are remotely similar.
When written down, this album should be a mess. It shouldn't work as a whole. Instead of sticking to the trademark synth-pop sound which he helped develop, Dolby instead decides to take colossal new directions, flirting with funk, world, atmospheric ambience, flamenco and epic soundscape. At a glance, it looks like the man has lost all sense of direction, spiralling out of control in a desperate attempt to find a new sound.
Call it a divine blessing, but it works. It works better than it ever should. It seems that Dolby has a rare skill, to take a genre different to what he's ever done before, spike it with his synth-drug, and make it flow so well on an album that is so sporadically different. The songwriting is top notch, and the session musicians all play a major part in bringing Dolby's creations to life. Simply put, the man is a quality songwriter. "Dissidence" is an extremely strong opener with a funky flow, displaying some neat pop hooks but with spacious breakdowns. "Screen kiss" then expands on this spaciousness by ridding the drums and relying on a bed of synth and piano to create an atmosphere unlike anything he's done before.
By the time "I scare myself" comes in with its Latino feel, one might wonder if it's the same album. Dolby somehow, makes this work.
That said, Dolby's vocals take a different turn also. A much more mature impression and feel is created when compared to his debut. Gone are the random shrieks and Michael Jackson style hiccups found on his debut, and a more precise vocal flow is adopted. The backing singers also do a tremendous job, and take the spotlight very professionally when Dolby eases off.
Overall, it's great to hear an artist making music for nobody but themselves, which ultimately, music should be about. As far as follow up albums go, this is absolutely solid, perhaps even better than his debut.
Bravo Thomas Dolby. 4.5/5
