Fear of Fours: Be Afraid. Be Very Afraid.
Sep 03 '02 (Updated Sep 03 '02)
Pros
The music is experimental and lacks boundaries.
Cons
Very disappointing overall. Most critics are mistaken.
The Bottom Line
Despite being of moderate interest and musically decent, I can't get past Louise Rhodes and her incessantly whiny delivery.
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After reading scads of great things about Lamb, I finally decided to pick up their sophomore effort Fear of Fours. For better or worse, the album now has a slot in my ever-expanding CD collection.
The duo consisting of just Louise Rhodes and Andy Barlow formed in 1994. The Manchester, England-based drum ‘n’ bass band added Rhodes’ vocals to the songs to create a sound not unlike that of Hooverphonic and Portishead. Immediately upon formation, Lamb gained a record contract with Fontana. Soon, they released their debut.
Lamb’s 1996 self-titled debut featured thumping rhythms and relied heavily on darkly techno sounds. The single Cotton Wool became a hit and was awarded a number of remixed interpretations. Gold soon followed and an increasing number of LP’s were sold by the trip-hop duo with a twist. Critics lauded them, thus allowing the band to release a second album.
Fear of Fours appeared on shelves in 1999 and soon was awarded with acclaim by critics and fans alike. Barlow’s tends toward drawn out experimentation on instrumental tracks. He seems to fear nothing when he mixes together electronica, horns, strings, and various other instruments. When combined with Rhodes’ exceedingly feminine, delicate, and emotive vocals the sound is certainly interesting. Whether or not you like Lamb is entirely another question.
I personally am a bit ambivalent to the duo. I came into Fear of Fours expecting a masterpiece. What I was instead handed was something less than that. At times, I do in fact enjoy Barlow’s music. But, at others it seems to stretch on for much too long (despite the fact that the album mashes fourteen songs into less than an hour). And then there’s my issue with Rhodes.
Recently, I’ve become enamored with newer British music. The expansive genre of trip-hop has captivated me for a year now. Everything about the dark, languid, strange, and expressive bands and albums fascinates me. Well, nix that idea. Lamb doesn’t fascinate me. In all honesty regardless of what critics and fans say, it bores me silly. At the center of the monotony is Rhodes. I am not keen on her overly feminine, forcible emotive style. Suffice it to say that I’d have been happier had she not been in place.
This isn’t to say that Fear of Fours is a horrible album. Oh no. It’s just not my style nor does it appeal aurally. I can understand the twists that Barlow applied to electronica. He is most certainly a talent. But, the pair when looked at on the whole is rather bland in my humble yet fairly musically knowledgeable opinion. Before checking out Lamb, I highly suggest listeners pick up discs from Sneaker Pimps, Portishead, Everything But The Girl, Massive Attack, Bjork and Tricky. Overall, each of these four acts is much more appealing on both musical and entertainment levels.
With that mess out of the way, Fear of Fours arrived in July 1999 boasting fourteen tracks ranging from just seven seconds to a ridiculously long nearly eight minutes (Ear Parcel). The vocals are provided by Rhodes while Barlow does just about everything else production and arrangement-wise. Various artists add to the mix with their own violins, guitars, horns, and other stringed instruments. When looked at as a whole, the album is fine but tries too hard to be something that it’s really not…profound.
Soft Mistake is a disappointing start. It’s beginning is fascinating and as time progresses, and increasing number of musical elements are added. As a listener, it feels as though the song is headed somewhere…to an epiphany. But, in reality despite sounding good it goes nowhere. I’m left hanging and confused by Soft Mistake.
Fear of Fours is somewhat redeemed by Little Things. Though, the beats aren’t new. In fact, the thumping reminds me a bit of Prodigy or Chemical Brothers. Rhodes, despite my ire for her vocals, is fine. She seems to hold herself back and refrains from being whiny or overly girly. It’s a slightly better than average track, but I’m not keen on the strange combination of music and Rhodes. Both elements could work better in another setting. Little Things is fine. Nothing special.
B Line is jazzy, smooth, carefree and diverse. It’s quite a bit unlike the other songs with the use of an upright bass fused with upbeat electronica. Rhodes sounds rather uncomfortable and out of place on Barlow’s song. It’s an average song if you factor in the lovely melody and the unconventional, sour vocals. I can see how people might like Lamb. I just can’t.
Once again, All in Your Hands attempts to build a landscape note by note. Barlow’s production is shimmering. Rhodes on the other hand is supposed to sound carefree. Instead, she sounds forced and self-important. She sounds like a less talented, less interesting version of Bjork. She sings directly through her nose and thus ruins any chance of my admiring the track.
The problems and themes continue throughout the remaining eight tracks. It really doesn’t improve and instead just wallows around in waters much too boring for Barlow but absolutely fitting for the annoying Rhodes. I do enjoy Less Than Two for it’s brevity and Rhodes’ restraint. Ear Parcel is mildly interesting though much too long for it’s own good.
Softly and Here are the tiniest bit decent. Barlow shows restraint and creativity in his use of the electronica elements. And, the fact that Rhodes isn’t necessarily the most overwhelming part is also refreshing. She seems somewhat less nasally and tends to not yowl quite as much. The rest of the album is unremarkable. Not bad…I’d never call Lamb a complete musical failure…just not my cup of tea.
So yeah. Don’t run out and buy Fear of Fours just because some critic claimed it was a masterpiece. I should have done more investigation before buying the monotonous and convoluted disc. If you’re looking for something decent, yet similar to, Lamb I can highly suggest a few artists and bands (some of which should be immediately recognizable). Pick up albums from early trip-hop innovators Massive Attack and Portishead. Also explore the at times depressing though musically crystalline works of Everything But The Girl, Tricky and Bjork. If you’re interested in something not quite so saddening, feel free to examine my favorite Morcheeba.
Rating: 3/5 stars
Track Listing:
01. Soft Mistake
02. Little Things
03. B Line
04. -
05. All Your Hands
06. Less Than Two
07. Bonfire
08. Ear Parcel
09. Softly
10. Here
11. Fly
12. Alien
13. Five
14. Lullaby
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Lamb went on to release What Sound. Once again, critics showered them with praise. I have yet to hear the album, but after this experience I suspect I still won’t find much of interest in the English duo. In addition to their own albums, Lamb has appeared on a few compilations and the soundtracks to films like Girls Town, Psycho [1998], and I Still Know What You Did Last Summer.
Recommended:
No
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