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- Yes! It's really true: a-ha, (they always spell their name in
lowercase) Norway's most famous New Wavers, have returned from
the sunset into which they had disappeared, releasing an album
in 2000. That sunset occurred eight years ago
although some may have assumed it took place not long after the
wild success of their debut album Hunting High and Low
(1985), with its immortal single and video, "Take on Me." After
dead-on-arrival North American receptions for Scoundrel
Days (1986), and Stay on These Roads (1988) (which
contained their other inalienable claim to famea Bond theme"The
Living Daylights"), subsequent albums received limited US distribution
and faced waning sales in Europe. After 1993's Memorial Beach
came and went, the trio went on hiatus. But you just can't keep
a pretty band down
and pretty are they still.
- At first glance, Minor Earth Major Sky (which, again,
has been given no stateside distribution) holds exciting promise.
The
packaging is masterful. The cover photograph, with the husk of
an airplane's silvery cockpit, slyly and perfectly encapsulates
the phenomenon of a-ha's returnthe wreckage of modernism's
truest believers on a (post-) postmodern shore.
- And when one surveys the current landscape, one may conclude
that a-ha's return was brilliantly timed; electro(nica)-pop, after
some tenuous steps, has finally re-ignited as a vital and viable
popular genre. Artists such as Madonna, The High Llamas, and Eiffel
65 have recently demonstrated that pop albums powered by electronic
engines can be highly satisfyingand creditablecreations.
And imagine what the group who made "The Sun Always Shines on
TV" in 1985 could do when set loose in a studio in 2000! Imagine
the uninhibited yet surgically-precise lab work of Mirwais or
Trevor Horn, applied to one of the New Wave movement's best songwriting
machines.
- But rather than drawing upon the youthful angstyes, angst!and
electro-urgency of the group's earliest work as a template, Minor
Earth is more of a continuation of a-ha's 1990s evolution
toward a more pared-down, acoustic-based sound. This is not clear
at the onset. The first track, "Minor
Earth Major Sky," is one of the album's best. It is also the
song whose production is most evocative of their 1980s albums.
The long instrumental opening and the lyrics that follow capture
the struggle between wide-open sonic spaces and clipped, claustrophobic
motifs that have always been present in their best work. It's
a great single. The sentiments are vague, but they are put forth
with an infectious conviction that builds steadily toward the
final, glorious-sounding refrain.
- As is the case with so many albums, Minor Earth's strongest
material is placed at the front, leaving the remainder to sputter
on fumes. Tracks 16 have a good kinetic flow, although of
these only the first four tracks are actually good songs. Track
4, "Summer
Moved On," is the album's high point, the kind of song you
want to throw onto a mix tape and share with friends. Again, as
on the first track, that signature a-ha sound is there, updated
yet immutable. Lush orchestration and rave-y electronic ripples
establish a backdrop that is, well, summer-like. Morten Harket's
vocals in the opening verse are plaintive, evocative, and crystalline,
touching upon the melancholy of fleeting moments, over and irretrievable.
Then comes the chorus, which astounds. All of that verdant backdrop
is suddenly swiped away, and we are left with Morten on one of
his effortless high notes, on the word "stay!" The note floats
in zero gravity for a moment, just before we are assailed with
the bleating of a full orchestral string section. This is drama,
excess, and expressionand it is what a-ha does best.
- Track 5, "The
Sun Never Shone That Day," starts off strong, and it features
some of their tightest, most compelling playing. This tune stalls
out in choruses, as a cheeseball electric piano takes over and
Harket confesses "I can see point of turning everything upside
down / I can see the point of greeting everything with frown."
And the frowns keep coming. The album's lyrics, primarily written
or co-written by the group's longtime leading songwriter Paul
Waaktar-Savoy, descend too often into murky, work-a-day doldrums
that, unfortunately, are not particularly insightful. Where is
the writer who penned "Living a Boy's Adventure Tale?" And
from "The Blue Sky," on Hunting High and Low,
we get this observation: "At the coffee shop
the lady at
my counter doesn't want me here / I just want to talk to her /
But when she laughs at my accent and makes fun of me / It doesn't
seem like the blue sky's here for me." There's an unforced poignancy
here that rarely emerges on Minor Earth. Waaktar and his
songwriting partners are now exhausted by the everyday, mundane
brutality of adult life. They're suffocating by degrees, and we
are made to bear witness.
- "Barely Hanging On," a mopey number, features this quatrain:
"I used to be so comfortable in a suit / Almost presentable next
to you / I used to be so confident in a crowd / Now I can't say
my own name aloud." Paired with a lazy swing rhythm, you can almost
see the abyss open before your eyes. But at least the sentiments
expressed in that song are accessible. Earlier, in "The Company
Man," they commit what should be a crime: they present the obligatory
"we have been screwed by the recording industry" song. True as
it probably is, does anyone need to hear another one of these?
a-ha wears bitterness badly. Up to now, they never came off as
bitter, merely wounded.
- One gets the impression that a-ha has been struggling with identity,
both lyrically and musically, to no immediate resolution. They
have been moving away from being a group (a collective
identity, emphasizing production), toward being a band
(individual egos, emphasizing instruments). The music suffers
from their inability to commit to one or the other. For as a band,
they simply don't have the instrumental chops or the grit
or the personality. One can discern no distinctive playing style.
Any of the instrumental parts throughout the album could have
been played by an uncredited studio musician. The emotional and
visceral power of a-ha has long been entrusted to Harket's emotive
and pliable singing voice (still one of the most astounding voices
in pop), and to the group's coloristic choices in their synth
and acoustic orchestrations. And yet this is where they stumble
as a group. The electronic elements of Minor Earth coexist
with the acoustic elements, but often don't quite mesh. They come
across more as (slightly dated-sounding) window-dressing than
bolts in the engine. And Harket, when singing on more acoustic,
band-ish tracks such as "Velvet" and "Mary
Ellen Makes the Moment Count," sounds surprisingly awkward
and lethargic. For the first time, he sounds out of his element.
- Much like their nineteenth-century Norwegian countryman Edvard
Grieg, a-ha is known among admirers as masters of the epic-in-miniature,
their music prized for its amalgams of sonic color. And just like
Grieg, among the listening public-at-large a-ha is dashed off
as a lightweight, untested and unproven in matters of structure
and substance. (What their fans have long known is that in actuality
a-ha's lyrics, on the whole, are highly substantive and deftly
developed, even if they come packaged as melodrama.) Perhaps the
group grew weary of being discounted, and thus chose their altered
trajectory. But, although one should never begrudge an artist
the right to change and grow, Minor Earth is a tentative
showcase for a band that finds itself struggling to hit the right
note between pop charm and grown-up gravitas.
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