Before I listen to a particular album for the first time, I usually (1) check
the length and (2) note the number of tracks; it helps prepare me for what is to
come. Plus, I’m an advocate of short and sweet albums, so when I discovered that
Robbers’ OrphanEndorphinDolphinDorsalFin was near 50 minutes partitioned
into 17 tracks, I tensed my brow and rampaged through the house throwing dishes
against walls and chairs out windows. I mean, how could these two relatively
unknown gentlemen (Jeff Mott and David Dunn) create anything worthwhile? You
see, I like to assume, and even before I put in the CD, I was ready for 17
tracks of derivative indie rock. I was ready to write my diatribe and move on to
more important things like run errands or release fecal matter in primitive
fashion. Little did I know that these award winning filmmakers-slash-musicians
had created one of the best albums of 2002.
The first thing I realized after being subjected to 17 healthy tracks was that I craved more. I never wanted the album to end; I wanted to be stuck in its organic-meets-electronic beauty forever. It was a feeling of pure euphoria that I had not felt since I last beat Contra without the cheat code, a transient feeling that felt utterly incomplete. The album is by no means too short or disjointed, but it’s so engaging and luminous that my hedonistic mindset needed something in replacement. So I played it again. And again.
Stylistically, the music on OrphanEndorphinDolphinDorsalFin is all over the map. Ranging from indie rock (“What’s We’re Ander?”) and jazz (“RNC”), to hip-hop (“Meow Mix”) and synthetic blips & bleeps (“I Wasn’t Here for This”), the two create an eclectic batch of songs that is doused with self-made samples and “collected world noises.” And not only do they segue into one another with ease and sophistication, but they also sound faultlessly natural, a rare feat within the confines of the music world. This natural environment is undoubtedly due to the stolen reel-to-reel 8-track they employed. Opting to stow away ProTools and any multi-effect processing units is becoming harder and harder with the increased ease and accessibility of technology, but Robbers keep it basic, restoring faith in magnetic tapes over electronic wires.
With such an incredible amount of variety, one may get the premature notion that each song calls for a specific audience, causing cultural fragmentation in their fanbase. But they have an uncanny way of melting all these styles into one unique pot, cooking in personality and a visceral, serene beauty that infiltrates your body and lies comfortably in your heart. Not only do they manage to capture your attention within each song itself, but they also achieve this attention in a holistic sense, blending instrumental songs with more streamlined songs. But even the more upbeat, poppy tracks (i.e. “Or Is It Only This Is What”) have a high degree of transcendence, whether it is because of a peculiar time signature or unpredictable tangent. In short, every song is unique and pleasing; there is not one moment that makes me question their credibility or visionary songwriting.
Where most experimental groups may seem cold and detached, Robbers has so much personality that a mushy Meg Ryan flick emotion is as likely as a feeling of awe due to its unique sounds; it’s hard not to instantly fall in love with them. With joke songs such as “Meow Mix” and “Snip Na Nip,” the group exposes their puerile tendencies that work to their advantage. For the most part, the group stays away from comedy and concentrates on drama. Every sound is implemented tastefully, and more importantly, affectively, which equips the album with a long lasting quality. And the great thing is that no matter how experimental the songs become, an organic instrument, such as a distorted guitar or even a drumset, will eventually muscle its way into the album, serving as the rope that keeps you tied to the ground.
Other than the greatest album title of the 21st Century, what ultimately makes OrphanEndorphinDolphinDorsalFin such a success is the seamless culmination of melody and experimentation. The idea is hardly new, and it’s been attempted repeatedly, but many of these albums are regarded as disappointments, either sounding too forced, predictable, and/or trite. But this album is a testament to the naysayer in your neighborhood. It would be inane to go through each song and try to explain its greatness; it’d be like trying to translate the images of Picasso’s “Guernica” into a meaningless string of nouns and adjectives. The album must be experienced just like any great piece of art. Then, and only then, will justice be served to one of the best-- and most surprising””releases of 2002.
1. What We're Ander?
2. Or Is It Only This Is What
3. In Manner and Action
4. Meow Mix
5. RNC
6. A Well Known Song
7. Dented Everything
8. I Wasn't Here For This
9. 9.6
10. The Last 4-Track
11. Thursday x Friday =
12. 4 Score and 1 Quarter More
13. Ckeys
14. Atypesetterinrussia
15. The V
16. Snip Na Nip
17. Broad Daylight
More about: Robbers
