:: Track Listing

1. Whom That Hits Walls
2. Hummer
3. Not Every Goddamn Little Thing You Do Needs a Title
4. I, Baby
5. Melted Crayons
6. Cockeyed Cookie Pusher
7. The Stink of Kings

:: Record Review

Fog

Hummer EP
(Ninjatune; 2004)

Rating: 65%
Combined Rating: 69%


I usually hate reading reviews where the press release that came along with the album they're covering is discussed because, let's face it, we're not reading to know what the label is blowing up that reviewer's ass in their press kits. We're reading to know what the album sounds like and to get an opinion slightly less subjective than that of, you know, the artist's label, who are probably going to be supportive of what's going on, even if they really know they're sending the group to the slaughter by mailing out promos to begin with. I hate writing about press kits even more, yet here I am, reading over the press kit for Fog's new EP, Hummer, and one thing strikes me enough to violate my "don't talk about the fucking press kit" stance: the label includes a rather lengthy list of, and I quote, "famous people who have admitted to loving Fog (his music that is)." The names are inarguably impressive; Dntel, Radiohead, MF Doom, Kid Koala, Dan the Automator, Beck, Sigur Rós, Microphones, Wilco, Prefuse 73, Low, Nas, Cut Chemist, and, well, the list goes on.

Now, loyal CMG readers, chances are you'll spot at least a couple of your favorite artists in there and glancing over that list, you're probably a little more interested in this "Fog" fellow (known to his mother as Andrew Broder). Especially if you hadn't already been turned on to him through his two impressive full lengths, 2002's eponymous debut and last year's critically acclaimed (well, by other sites and magazines at least) Ether Teeth. Perhaps you might've even come across Broder's collaboration with Anticon collective member and one-third of cLOUDDEAD, Why?, known as Hymie's Basement; though hopefully if that was your sole introduction to Fog, you didn't take too much away from that in terms of what to expect from the guy (or the quality of his work, for that matter).

It's true, you can usually tell a lot about an artist from the celebrities that profess their love for them and in this case, Fog has some fans that are far better recognized and loved than you, but that doesn't mean that Andrew doesn't want you as a fan, as well. More to the point, though, is why all of these highly respected musicians, producers and MCs can agree on Fog's music. Is it really that great? For the most part, the answer is yes, but Broder is, like most of my favorite artists creating music these days, far more willing to experiment than to worry about being consistent, and that's an attitude that will most always yield the same kind of mixed results. His debut combined some fantastic tracks ("Pneumonia," "Check Fraud," "Ghoul Expert") with equal amounts filler and production-heavy ideas, while Ether Teeth was surprisingly consistent without really having many standouts outside of the beautiful ambient opener "Plum Dumb" and personal favorite "The Girl From the Gum Commercial."

So he's released a series of very pleasant releases but anything that would seem to warrant this array of admirers? Well the real thing about Fog is the incredible sense of unpredictability and promise that lays underneath each and every track, even when the songs don't work. Hummer, the new "mini-album," was recorded utilizing an array of tools that, listed, could make John Vanderslice feel overwhelmed, and yet Broder's skill as a producer (with a little help from Tom Herbers) makes sure the extras never seem anything less than necessary to the song staying together, as if it'd crumble without every last rattle, twist, and turn. Hummer was written and recorded not long after Broder had finished Ether Teeth and, not surprisingly, it isn't that far removed from it, but certainly enough so that it could never be construed as more of the same.

"Whom That Hits Walls" opens the album with one of the bigger departures and though certain parts are thrilling, as a whole it just lacks something significant to pull the Anticon-does-indie-rock sound together. On the other hand, "Hummer" and "Not Every Goddamn Little Thing You Do Needs a Title" are terrific; on the former, the low tempo, stretched sample that propels the song is stunning, and the latter could've easily been on Ether Teeth; honestly, it would've been one of the more beautiful and moving tracks, even as a segue under a minute in length.

The last four tracks are a mixed bag. "I, Baby" ruins a beautiful arrangement with downright retarded lyrics ("when I grow uppee/ me get strongy/ me lifty!/ me poopee!"); "Melted Crayons" features a production strong enough, especially in its second half, to make it a worthwhile addition, even without much underneath; "Cockeyed Cookie Pusher" is probably my favorite of the bunch mostly thanks to its great melody -- something sorely lacking on the EP. "The Stink of Kings" ends things off, and it's yet another track that works well enough to pass yet fails to offer anything truly remarkable. Overall, this just feels like unachievement from a serious talent. Let's just hope he has a few more tricks up his sleeve for his next release or he's going to have some pretty pissed off high profile fans to answer to. And, uh, us too. Scott Reid :: 24 February 2004 |