Harriet Gibsone 

Sohn: Tremors review – crisp, serene soundscapes but too much melodrama

Christopher Taylor's icy, pristine electronica is hampered by its offputtingly overwrought emotional intensity, writes Harriet Gibsone
  
  

Sohn, AKA Christopher Taylor
Fist-clenching intensity … Sohn, AKA Christopher Taylor Photograph: PR

During the recording of Tremors, producer-cum-singer Sohn, real name Christopher Taylor, would walk home from the studio basking in the frosty-aired sunrise. Indeed, a certain pastoral iciness is entrenched in his debut album's pristine production and serene soundscapes. Where Tremors struggles slightly, however, is in its narrative. It is sodden with sincerity to the point of melodrama as he laments his unrequited love with the fervent conviction of a stage-school student ("Nobody can leave me lying by the side of the road like you can" he quivers on Paralysed). Although Veto sounds like a more cinematic Chaka Kahn, it's hard to ignore the looming spirit of one-hit wonder Jamie Woon throughout the latter half of the album. Sohn's crisp, emotional electronica is certainly moving at times, but over a whole album, his fist-clenching intensity weighs a little too heavily.

 

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