Motorik
Klang!
Self-Released; 2009
I considered a few of my more familiar themes with which I could have begun this review, but everything seemed a bit tired and stale to my eyes and ears. On the one hand, I could have ably discussed the strong female presence fronting Motorik and how we still need an increase in such voices. On the other, it would have easily derided the overwhelming (and unfortunate) need for bands in the post-Interpol era to continue beating the rather tired musical horse that is post-(post-post-)punk. Inevitably, I decided to address Klang! directly, mostly because it deserves a frank conversation.
From the beginning, this nine-song affair lends itself to obvious comparisons to the music of Joy Division and Interpol, amongst others. It’s impossible to ignore, though you really do want to think of other primary purveyors of post-punk revelry from which Motorik borrows. What I found to be the most appealing aspect of this band’s music is the brash, daring, and strong lead female vocals, which call to mind a mix of P.J. Harvey, Joan Jett, and Heart. The passion and attitude in Sio’s voice gives this otherwise average band some measure of distinction and definition.
The production on Klang! is quite clean, with no sludgy overlap in the mix: the guitar, drums, bass, and vocals are all distinctly recognizable instruments. This provides a pleasant change from the intentional under-production attempted by most bands of this genre. Furthermore, in terms of the technical aspects of song construction, this record is quite rudimentary with very little flash. There is something mildly attractive about this, as it’s apparent that the band made the choice willfully, but it can become rather blah and boring, decreasing the power of the singer’s voice.
I really enjoyed the band’s energy and bare-bones approach, as heard on tracks like “Or So I Thought” and “First Rule,” but selections like “Utopia Parkway” and “Patent Kiss” found the band riding the same riffs for far too long. Ultimately, Klang! is a wholly average record: though the chord progressions are catchy, thanks to their genre-based familiarity, and the lead singer effectively carries the group’s aesthetic, these songs really aren’t all that memorable.