The Frequency - The Frequency
The Frequency is what would happen if Dio were to, in spectacular fashion, meld with both Duran Duran and Boy George in a giant mess of hair, makeup and the uncontrollable urge to dance.
The hip shot of Trans Am member Sebastian Thomson is like many of the side projects artists are so keen to pursue. It’s never enough for their egos to maintain shared artistic boundaries, and it seems each and every one has a project of their own they wish to unleash. Thomson is no different; The Frequency is his little doodle and while it bears little resemblance to most of the Trans Am discography (although vaguely similar to the recent Liberation), it merrily eludes some of the more painful norms of side projects: The Frequency is completely devoid of apparent self-moping and strictly avoids any ideas of art. Heck, it’s even fun!
Please take note, the following description may horrify but it really isn’t as bad as it seems. The Frequency is what would happen if Dio were to, in spectacular fashion, meld with both Duran Duran and Boy George in a giant mess of hair, makeup and the uncontrollable urge to dance. There are plenty of synthesizer harmonies, fist clenching heavy rock riffs (the song “Forgot” has Mr. Ronnie James written all over it) and brightly lit disco/dance thumps. Yes indeed, The Frequency is everyone’s throwback nightmare come true, and like everything else that seems to be retro, it is inescapably en vogue.
There are moments of sheer campy fun; “Own Me” would suit any nighttime montage of mascara and ugly clothes, while “Erasing Myself” is the album’s self-serving 80s movie anthem. “Chicas” is an epileptically-charged electronic bombardment and “Music for Entertainment” is pumped for primo dance floor workouts; complete with the kitschiest chorus line since the piano man sang, “We didn't start the fire / It was always burning / Since the world's been turning.” And if you’re wondering, Thomson so robotically croons “Music! / As entertainment / Music! / As government.” Yet it is not entirely clear whether or not this album should be taken all too seriously. Thomson and the rest of The Frequency have got their 80s routine down perfectly and maybe if it is heard with the sort of tongue-in-cheek façade the decade is famous for, it really strips away the uncomfortable visions of short shorts and neon green. However, once you start taking this stuff seriously, it all becomes garishly obtuse.
Perhaps his work in Trans Am is at times far too slanted, The Frequency are anything but difficult and upon first listen, immediately clear on intentions. Thomson is unabashed about his musical influences and this is his likely tribute to some of those who have shaped his work. Or perhaps he just loves the 80s a little too much, but at least the results aren’t as unsettling as Wham! parading around in sportswear.
(Noreaster Failed Industries)