By Kevin Scott
When a band reaches a certain point creatively then it comes to pass that it will either split up for a period before announcing a reunion tour, or one (or more) of its members will turn out a solo record. This statement may feel tinged with cynicism, but that's not the case: there understandably comes a point where collective creativity needs benched for a period to give the individual a chance to flourish. And so is the case with Kevin Drew. Darlings is his second solo record, following 2007's Spirit If.... As the front man of the many-membered Canadian group Broken Social Scene he has been part of a band that have pushed boundaries and released some genuinely impressive and influential material.
As with many solo albums, there is much to like on 'Darlings', yet some aspects that don't pass muster.
That multi-instrumental signature sound that Broken Social Scene are marked with is noticeable absent for a more paired down sound that is very much, well solo - although there are numerous collaborators, from Charles Spearin and Ohad Benchetrit (Do Make Say Think, Broken Social Scene) to Dean Stone (Apostle of Hustle) and Dave Hamelin (The Stills).
Opener 'Body Butter' begins with looped feedback followed by an acoustic guitar in a standard verse/chorus/verse structure, with a highly suggestive subject matter. There's great depth to the track, slick production making the sound full and rich.
Lead single 'Good Sex' continues the theme. A piano driven track, it feels more textured, grander, and more like Drew's band. "Good sex it never makes you hollow / good sex it never makes you feel clean," begins Drew, indicating perhaps that bad sex is the way forward. The chorus of "but I'm still breathing with you, baby" is hugely uplifting, the vocal trailing off in an echo that reaffirms its sentiment. There's something Springsteen about it all; not a bad thing,that.
'Mexican After Show Party' sees another side to Drew emerge, bubbling under drum loops and low octave synths comes a rip-roaring Prince impression. The seedy tone planted in 'Body Butter' continues as Drew explains exactly why he wants to go to said Mexican after show party. It's playful and energetic, the direct address to the listener demanding attention.
It's after this point the album suffers from something of a lull. The production (by Dave Hamelin and Graham Lessard, along with Drew himself) continues to impress, but overdoes it occasions, the focus on experimentation in the second half of the album putting up a barrier.
It's clear Drew enjoyed making the record, pushing into new directions such as the folk foundations of 'First in Line', or the electro-rock on the relatively weak 'Bullshit Ballad'. There's even a smattering of dream pop, on 'You In You Were', which is an example of where the focus on experimenting in place of substance is detrimental to the album.
Kevin Drew knows his way about a melody however, and with the huge sound on the album driven by an eighties influence, it sounds very current. Over the piece, whatever itch Drew was feeling, he's found a way to successfully scratch it.
