Fink - Sort Of Revolution Review
Posted by Paul Schofield on 10.17.2009
Not Howard Finkel, but a DJ turned singer/songwriter, with songs co-written by John Legend. But should Fink stick to spinning discs, or will he spin your head right round, right round?
Before anything, thank God for Fink. If Fin Greenall, frontman of Fink with Guy Whittaker on bass and Tim Thornton on drums, had never been born, I’d be reviewing a metal album right now, and I’d hate to upset the metal crowd with a low scoring album, especially after how well my Skillet review went down. At least the Jehova’s Witnesses have stopped knocking at my door. Unfortunately they just piss on my driveway now, and use their pamphlets to mop up. That part’s not true, but I know they are considering it. It’s all in the eyes. At the very worst, I’d be reviewing a country album, something I know nothing about. I’d be as much help as Kanye West at a sponsored silence for charity.
It’s also worth noting that, much to my disgust, this isn’t an album by Howard ‘The Fink’ Finkel, where he murders classics in a Shatner-like croon. Though I’d probably go see that just for the pure spectacle of it.
Fin Greenall is a fellow Brit, born in Cornwall, home of the infamous Cornish Pasty, and grew up in Bristol, home of Sir Humphry Davy, who invented laughing gas, and Wallace & Gromit, who are also inventors of sorts, and particularly good with gadgets.
I’d go see that.
Finn grew up on the stable diet of acid jazz, house, in particular Orbital. His musical career began as a DJ, remixing and making electronic hip hop. He’s also noted as producing for Amy Winehouse. Thanks Wikipedia. What is surprising is that from these beginnings, you would think Fink would have made music in line with his influences. Not so. Fink has instead gone the route of singer/songwriter, with a chillout current carrying him upstream. It’s this mood that has seen him support Zero 7, and this album, Sort Of Revolution, features songwriting collaborations with no less than John Legend. But can he cut the mustard in this genre, or does the wheat need to be cut from the chaff? I never did like the sound of Chaffabix, or Chaffo’s. As Abraham Lincoln himself once said, “Let’s get on it.” Then he got shot. Bad times.
1. "Sort Of Revolution" - 6:33
2. "Move On Me" (co-written with John Legend) - 3:38
3. "Six Weeks" - 3:03
4. "Nothing Is Ever Finished" - 4:07
5. "See It All" - 5:13
6. "Q & A" - 6:16
7. "If I Had A Million" - 4:43
8. "Pigtails" - 3:51
9. "Maker" (co-written with John Legend) - 5:35
10. "Walking In The Sun" - 3:18
There’s a Newton Faulkner-esque grace at hand here in opening song “Sort Of Revoluion”, though it’s never showy or played upon. It is what it is, a simple song that is beautifully performed and orchestrated. It’s even quite uplifting. For a song that is six and a half minutes long, it never drags, never has you checking how much time has elapsed or how much is left. Ideal for chillout music, relaxing, but it’s emotive enough to be more than just that.
“Move On Me” is one of the co-written tracks with John Legend, and it’s quite the soulful effort, but again in an understated way, and for once the strings in the middle add something to the song, rather than just being thrown in for the hell of it. Finn’s voice is delicate yet strong where it needs to be, and it’s refreshing that so far he hasn’t tried anything too far outside his comfort zone. So many singers these days change keys like Gaga changes wigs, but there is something alluring about a natural sounding voice, which could explain Legend’s input.
“Six Weeks” is noticeably slower, more ponderworthy, but doesn’t stand out as much as the preceding tracks. It’s acceptable and everything, but it doesn’t quite grab you in the same way. The first two tracks grab you like a big warm hug, this is like a limp handshake. Fortunately “Nothing Is Ever Finished” is a step back in the right direction, with lyrics that are notably sharper in places, particularly as it is a song about temptation. It kicks up a gear right as the song ends, which is nice, but it would have been better I feel for this to have continued, just to see where it would have ended up. So far the songs have all been more than acceptable, but they seem to be lacking something that would make them exceptional. I’m torn, as the songs function perfectly well as they are, and maybe I’m expecting something different when there is no need to do so.
“See It All” continues along these lines, guitar and piano working as one as always, with a more pronounced bass line and drum beat as well. It’s the first time that you notice the instruments all vying for attention, which the stripped back vocals allow. It succeeds due to this, and is really listenable. Apparently the song is featured on CSI:NY as well. I’m still waiting for CSI:Alaska myself. “Q & A” is what stripped back hip hop would probably sound like, with a voice led groove, but with Finn’s usual lyrical style. If anything it’s the voice that doesn’t fit here, not quite as smooth or rough as it should be, but the beat of the song keeps it steady. At over 6 minutes it’s too long as well, and could easily have been scaled back. “If I Had A Million” is much better, more heartfelt, and you wouldn’t mind if this went on for 6 minutes. Extremely simple yet melodic, it’s a real highlight of the album so far. “Pigtails” is again soulful, brilliant in execution and vocal control, it simmers at the perfect heat. This one grabs you, but not like a warm hug of earlier songs, more like a last embrace. “Maker” is the other song written with John Legend, and Legend’s influence is heard more here than on the earlier track. He’s a maker, baby, and slowly this album has crept up on me. Earlier fears are cast aside, as there is just enough variety here to see Fink succeed, but it’s not without its problems. Again, the only issue is with song length, it’s perhaps just a minute too long at the most. Final song “Walking In The Sun” is the fitting way to end the album, a gloriously understated cover of Jeff Barry’s song, and the backing vocals are a superb touch. It’s here that I wonder what Fink could maybe achieve with a full orchestra and choir behind them, if this would be too overblown, but it’s obvious that they don’t need any of these cheap tricks to accomplish what they set out to do.
The 411: It’s important not to think of Fink as being singer/songwriter on the same levels of the other names who get thrown in with that tag, because Fink is a separate entity. These aren’t songs that you will necessarily hear on mainstream radio, because they don’t fit that mood. If anything Fink is closer to the likes of Bon Iver, only if you swap the wilderness for 5am on a Saturday night/Sunday morning, and the heartbreak for a more modern take on soul. It’s not a revolutionary album, but it has a mood and a feel that it sticks too, and is better off for it. My main problem was that I came into this album expecting too much, when it is blindly obvious that less is often more.
