We’re On Your Side
Hometapes
It’s a rare find, but Denmar
sounds unlike anyone else. The all-male vocal harmonies on the band’s second
U.S.-released LP bring to mind a men’s choir or barbershop quartet, bass-heavy,
on-pitch and gorgeous. But see, then they mix that skill with rock n’ roll
sensibilities; We’re On Your Side’s
throbbing percussion (“Hunting,” “Postcard”) is as important as how they sing.
And Slaraffenland has brought creative instrumentation (horns, flute, clarinet,
sax) and a strong ear for tension, pace and volume, too. Their compositions are
more like classical arrangements than populist ditties, but pull along the same
energy as the simplest power ballad.
The end of “Too Late To Think,” for example, blends trilling
horns with fluttering guitar layered over baritone and tenor crooning, pushing
the song toward a gently climactic ending. It’s beautiful and packs more punch
emotionally than all the guitar-only rock-outs ever could. In fact, each song
sweeps and swells in its own way. If anything, the album risks sameness because
it’s too uniformly compelling (“Falling Out,” “Postcard,” “Away”). It’s got the
nostalgia of Death Cab For Cutie, the reverence of Sigur Rós, and the driving force of The National
without ever being over-the-top or precious. It’s impactful when it’s delicate
and moving when it’s thunderous.
Equally as seemingly contradictory, the lyrical topics the
band tackles all deal very matter-of-factly with emotional subtleties (“Meet
and Greet”). Insecurity, conflict, mortality, futility, impermanence – all get
ample treatment in We’re On Your Side.
But it’s not all weeping and hugging. Slaraffenland doesn’t avoid pounding and
noisiness. The end of “Stars and Smiles,” for instance, devolves into a
screeching guitar and drum break. And in “The Right Place,” the syncopation,
deep unison chorus and percussive “We have lost our place” chanting refrain in
the background provides punch that “chamber pop” probably shouldn’t have. But
I’m not complaining.
