Review Summary: Looking beyond the dance.
Okay, alright. Here I am, apparently. Do I know what to do? Not exactly. Do I know the moves? I most certainly don’t. Do I really have to know? That’s what we’re trying to find out here. Could you please just give me a minute to process the data?! You’ve read through almost a whole paragraph already, you must be feeling tired. Come on, take a break! Grab something to eat, drink a glass of water, or play with your cat a little. Come back in a minute, after I get my thoughts together, and then we’ll talk.
Ah, here you are again. Good lad! Now, there is a conundrum that demands some reflection on my part. You see, I’m not exactly a party-going, fun-loving person, especially if dancing is involved. Inherent shyness and lack of coordination related to my health condition prevent me from being the king of the dance floor. Even if I did somehow manage to find my way to a nightclub, you won’t find me in the spotlight. Look again! There I am, hiding in the shadows, huddling in the corner, unseen and ignored.
So, the question is, what should I do to give a worthy review to an album of beats, loops, and grooves? How should I proceed to handle a package of danceable music? What the *** am I even doing here?
What I really need is to place Weval music in a proper context. Even the more "conventional," poppier songs presented here are not exactly dancefloor material, not to mention the more experimental stuff. It’s not really dancing music in the traditional sense, save for the second part of “You Made It” and a couple of other tracks. And even those are not exactly sunshine and rainbows.
So, maybe that’s it? Could it be that Weval’s self-titled is exactly the dancing music for those who don’t like to dance? Is this the much-needed electrotherapy for the moody, the brooding, and the bored?
Well, not exactly. There is some melancholy present (just listen to the lyrics of “Days”), and it will take an even more prominent place on the band’s second LP, that’s for sure. Still, most of these bits are too pressing and driving to evoke sadness, and whenever the music slows down it emanates a loungey, relaxed vibe, rather than any sensation of sadness or uncertainty.
Very well, does that mean I should just relax? Lay me down, close my eyes, and let the music absorb me. What do you say?
No, that doesn’t quite cut it either. Even the relaxed start of “Square People” gives way to a pulsating beat early on, and the soft, calm synths that reign most of the time over the quirky and ever-changing “You’re Mine” are supported by a dry and urgent drum pattern.
So, no fun and games, no brooding, no chillout. What other options do I have?
I should have thought about it right away! It is still a full-scale winter here in Kyiv, as cold and snowy as it’s supposed to be in February. Nevertheless, it’s a Sunday morning, the sun is shining especially brightly today, the sky is clear, and there are no air alarms. All things considered, I should just take the album for a walk!
Indeed, starting with the bubbly “Intro” and all the way down to the playful “Years to Build” – these beats are made for walking! Although as far as I’m concerned the album really starts only after the first two songs. “Intro” is literally just an intro, and “The Battle” feels monotonous and underwhelming, even though it sports some juicy synths. However, the synth work is much more interesting and engaging on “I Don’t Need It,” and if you want to hear repetition done right, look no further than the abovementioned “Years To Build,” where every element fits just right to create a moving, uplifting song. The mood varies throughout the album, but most of these songs are designed to provide you the necessary impetus during a walk through an urban landscape (for some reason I’m convinced that this album is completely unsuitable for walking in the forest / running through the hills / climbing a mounting or something like that). The middle part is especially strong, starting with swift and fresh “Way To Go.” “You’re Mine” is a real treat with its hectic start followed by enveloping calmness building up to a tasteful climax and carefully retreating back into calmer territory towards the end. This may be the best song on the album in terms of composition. However, my personal favorite is “Days,” a prime example of an excellent song propelled to even greater highs thanks to skillful and delicate vocals providing the right combination of restraint and emotion.
The duo will get better on their second LP. They will iron out the creases, learn how to incorporate vocals into the songs properly (I’m still convinced that “Square People” and a couple of other songs would have worked better as full-on instrumentals, without the redundant and distracting overprocessed vocals), expand upon the themes and sounds presented here. Nevertheless, this album is unique for Weval in many aspects. So, take the LP for a walk! You might enjoy it even more than I did if the weather is less chilly wherever you are.
