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Piano – which acts as the record's introduction and serves better as a prelude to Buffet – is not entirely what you'd expect from an album opener, given the group's output to date. The down-tempo, brooding approach somewhat surprises and, compared to the hyperactivity found in other cuts, it borders on the smooth. That direction, pace and tone is carried firmly through into Buffet which is as steady as it is serene and exudes a TV On the Radio-lite-like ambience, albeit without the myriad layers.
There is, however, a certain subtlety to WHB, and though it does not abound in the more generic exchanges dotting the record, it turns certain passages into more than just throwaway electronic pop. Yet, still there is a feeling that they're freewheeling downhill – albeit in the right direction – with energy to spare. Take, for example, most recent single Divisive – danceability aside, it advances no more in its entire three-and-a-half minutes than it does in the first 30 seconds. There are no twists, breaks or turns for the unexpected. But there is no rule that simplistic has to be boring, as We Came Out testifies: its fun, foot-thumping tendencies outweigh the asininity of lyrics such as “We went out / and we got wasted / you went home / and turkey basted”, frivolously tickling though they may be.
Though a mite formulaic, WHB does have a several weapons-grade bangers in its arsenal – despite the relatively sapless offerings that sandwich them. The real depth of filling arrives in the final quarter, yet it is still not quite weighty enough to deliver a real thwack of interest to the listener. Though rarely as engaging as its makers might have hoped for, elements of WHB are a lot of fun – though its durability will be questioned, there's enjoyment enough within this debut to dip into at least a few times. --Luke Slater
Find more music at the BBC This link will take you off Amazon in a new window
Q Magazine, January 1, 2010 Q Magazine, January 1, 2010
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Dede WP, who sing and manage an array of instruments
and electronica and Darren Bancroft, who provides drums,
beats and more voice. They have been compared with both
Hot Chip and Talking Heads but this is only helpful up to
a point. There is more than enough that is fresh and
distinctive in the twelve tracks of their debut album
that we should consider them on their own merits.
The songs have strong melodic and rhythmic structures.
The deadpan vocals, despite their limitations in tonal
colour and technique, fit comfortably with the somewhat
mechanical nature of the arrangements. This is not to
say that the music lacks heart or humour; tracks like
'How To Make Friends', with its bouncy bass-line and
cheapo organ sound, manage to generate both warmth and
not a little charm. So too the robo-disco beats and vocals
of 'Honeytrap', which had a number of my toes tapping at
the same time. Mrs WP's incantation at the heart of the
composition is also, unintentionally, very funny indeed!
Droll, intelligent and with an affectionate grasp of
80's electro-pop convention, 'Hear It In The Cans' and
'Divisive' (with its trundling Moroder-esque beats)
are both more than worthy contributions to the genre.
'Buffet' is a somewhat different proposition.
Its mantra-like ambience, sultry vocal chants and
hypnotic pulsing heart is actually rather lovely.
Tasty sonic soul food for my inner-hippie!
The spirit of Tom Tom Club is alive and well in
'You Came Out'. Mrs WP gives another fine po-faced
performance amidst the good-natured beats, bleeps
and whistles of the addictively upbeat arrangement.
(Do parents teach their children to whistle any more?)
There's a lot to smile about in WHB's first album.
I find myself hoping that they may secure a little more
than the fifteen minutes of fame generally allocated
to those who dare to find a place under the harsh and
sometimes unforgiving spotlight of the listening world.
Recommended.
While a more polished affair than their fairly raw live sound the album has a distinctive voice with as many stand-out tracks as any in this genre and little in the way of filler.
Starting with the misleadingly gentle Piano it builds to the rawer ESG/Hercules and the Love Affair flavoured sounds of You Came Out and Oh managing to walk the fine line of having its own sound without becoming too 'samey'.
While vocals are sparing this lends it a tautness that can easily get lost in modern production and is reminiscent of some great bare bones 80's sounds. Darren Bancroft at his best moments imbues the simple lyrics with a distinctive haunted desire.
Particularly favourites for me are Divisive; Love, What You Doing?; Oh!; Centrefolds & Empty Screens and You Came Out, which when listed like that looks like over half the album!
This is not happy happy dance but quite a moody album, as much reflective as dirty but still very danceable at the same time.
If you're looking for something new to toe tap to this is definetly worth a try.
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