REVIEW: The Frequencies — Wake Up (LP)
Every so often releases land that illustrates the times. They may not receive much commercial or critical notice, hosannas may rain down on them and parades may result, but the collection still illuminates the era regardless. The Frequencies’ debut outing Wake Up is one of those works. When main guitarist and co-songwriter James Iacuone refers to how his 80’s upbringing with bandmates Sheetal Aiyer and Mitch Kilman, the 60’s and 70’s influence of their parents, and historical events such as 9/11 and the Berlin Wall coming down influenced The Frequencies’ music, there’s an unspoken larger truth.
Younger generations haven’t set their sights high enough. It’s the fame game now, posterity is a joke, and all that matters is parlaying your fifteen minutes of notoriety into a cash windfall. There are exceptions, thankfully, but the remorseless drive for instant gratification has dulled the impassioned hearts and voices that once defined popular music’s upper echelons. The Frequencies, however, are among the exceptions and each of the album’s thirteen songs attests to the band’s keen songwriting artistry.
“Wormhole” throws down the gauntlet. Its deliciously lazy horns, knowing and understated dark humor, and imaginative arranging are obvious. There’s a quasi-carnivalesque flavor to the way the track unfolds that belies the seriousness of its lyric. It’s handled with a light touch, however. The lead vocals remind me of David Bowie without ever sounding like an imitation. It’s a compelling opener you have to hear multiple times to appreciate. “Cleaner Heartaches” matches its excellence. Some may say it exceeds it. The loose yet emotionally affecting vocal harmonies present throughout the song are a definite highlight, It’s the quality of empathy, however, present in this song that grabs my heart. The strings and piano do as well.
The tempered stride of the riff for “Dreaming for Tomorrow” provides another of the album’s best melodies. It has a light lyricism capable of immediately engaging listeners. Applying post-production effects never dilutes the insolent whine coming through the vocals and the deliberate ramshackle jangle of the cut makes it stand out as well. “Time Ain’t Right” has muscular alternative rock guitar creeping in, but the bulk of the song is another mid-tempo number with a spartan arrangement for much its duration.
“For the Moment” has a sleepy demeanor, but the synthesis of a traditional band arrangement with sequencers and other synthesizers helps the song stand out. It’s a bit more of a nod to the Eighties than many other songs on Wake Up and the change in feel is welcome. It doesn’t have the same sort of drumming attack, but the uptempo “Why You Fightin’?” reminds me of The Rolling Stones’ “Sympathy for the Devil”, especially during the “woo ooh” vocal passages. Iacuone lays down incendiary guitar.
His guitar likewise gives “Let Them In” plenty of bite. We’re treated to much more of an art rock vibe here as The Frequencies successfully mesh yet another intelligent lyric with a guitat-spiked arrangement grounded by stellar time-keeping. The variety of The Frequencies’ Wake Up is refreshing and inviting, but challenging as well. They’ve crafted a collection that demands listeners pay attention rather than something you can gloss over. Its rewards, however, are plenty.
Colin Jordan
