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Just as much as New York can't be taken out of Sonic Youth, Dead Man Ray can't be placed in a green forrest, far away from the hustle and bustle of the big city. It is not surprising they named their debut Berchem, their hometown. On that record they introduced the world to their dark and electronic sound. With the follow-up record, Trap, Daan Stuyven and friends stay firmly planted in their urban sound. Popmusic built on bricks and hooks.
They may produce music reminiscent of the eighties, more precisely New Wave, but don't let that deceive you. Dead Man Ray make complex, multi-layered popmusic that needs to be played numerous times to be appreciated fully. Every musician brings his own background to Dead Man Ray. Daan Stuyven brings his love for the eighties (think Hot Chocolate and the Sparks). Rudy Trouve and Elko Blijeert have a preference for No Wave. And last but certainly not least Herman Gillis adds his filterbank to the mix.
When first listening to Trap, the noises trample all over you. From the vocal chords of Daan Stuyven, which still have that smoke-enhanced Matt Johnson tone, the simple rockdrumming executed by Herman Houbrechts, the edgy guitars to the strong presence of the filterbank. But like the city, you need to discover the different corners and alleys. The hidden places are the samples (most importantly from the sixties movie 'At the Drop of A Head'), the city noises (an actual tractor breaking down a house and if you listen closely, even a doorbell) and Ham, five minutes out of Daan's life. The lyrics may be nonsensical and tongue in cheek, they sound perfect. Where others put meaning in the lyrics, Dead Man Ray picks the words for the colour, how well they fit with the sound of the instruments. Popmusic should be infectious and full of hooks. They got me caught in their Trap and now I can't get out of it.
http://www.kindamuzik.net/recensie/dead-man-ray/trap/856/
Meer Dead Man Ray op KindaMuzik: http://www.kindamuzik.net/artiest/dead-man-ray
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