The anticipation for Todd Terje‘s debut album, It’s Album Time can be likened to the excitement you see at the Apple store the night before the release of the iPhone 8.4s, in the line at Foot Looker for the next limited edition sneaker? I think? I mean that whole thing perplexes me – people line up for shoes? Or you could even liken it to the excitement you see in the line at KFC at 4am on a Saturday night. Basically my point is, lots of anticipation, lots of excitement and this album does go well with some popcorn chicken.
The thing about It’s Album Time is, that it isn’t 12 variations of Inspector Norse and Terje makes a point of this from the very start. The Intro, aptly titled Intro (It’s Album Time), is a well polished version of the type of track you’d want to hear at a live show just before the curtains open for your favourite band – it arouses excitement, suspense and makes for the perfect reveal to what is almost a perfect album.
The album is cohesive and so pleasing to the ear – it all just makes really good sense together. Leisure Suit Preben is a slightly odd track for me though. I totally appreciate the production and the genius of it all, but it’s just a little bit loopy. It sounds like the opening sequence of a children’s show but a little bit twisted. In saying all that, at the 2 and a half minute mark, just as I’m thinking, ‘not for me’ it all becomes familiar again. The thick bass line, the bells are all a part of the Terje signature disco twist. The smooth transition into Preben Goes to Acapulco is almost too much for me. How much I love transitions like this on albums isn’t something I could even express in a 1000 words. While I’m disillusioned by Leisure Suit Preben, I’ve got my bags ready to go to Acapulco and without the Leisure Suit where would I be?
Enough crap analogies though…
Svenk Sass is made for the opening sequence of Sex And The City 3 (which thankfully they are way too old to make and let’s face it, who really wants another sassy yet racist movie from the gals?). It’s sexy music targeting the hips and your endorphins. I don’t deny that watching a pair of attractive hips moving to this track would make you very happy, but this song could get you there without them. Strandbar is a rush of euphoria and nostalgia and brings me back to Terje’s genius three-part EP from last year – and if you’re wondering, I’m definitely a Disko Version fan.
A modulating, versatile piece of art, Dolorean Dynamite is so far one of my favourite tracks of this year. It’s thirst quenching and brilliant and please note, does not require any remixes. The light and shade as well as the peaks and troughs make this the standout track on the album.
Pulling down the energy with Johnny and Mary Terje manages to surprise me with a track I can’t say I expected from this album. It’s a cover of ">Robert Palmer’s track, turning it into a tale of melancholy and a stark contrast to the original. Alfonso Muskedunder immediately picks you back up before you’re thrown back into another 2-part journey with Swing Star Part 1 and Swing Star Part 2. Working as polar opposites to one another, this pair is the sunrise and sunset of the album and tracks you will no doubt be hearing at the club.
This is probably really shallow, really skating over the ice, but doesn’t Oh Joy sound like a celebration of the album? It sounds as though Terje is spinning around in a room and we’ve got a birds eye view of him dancing around after he’s finally recorded and polished off this record. And then it all ends with Inspector Norse.
This album really isn’t disappointing at all, it doesn’t fall short of any of my expectations but I can’t quite shake that I’m not overwhelmed by it? I really wanted to be overwhelmed by this long awaited album from one of my favourite producers and I just wasn’t. Maybe it’s the type of album that I will listen to over time and realise how silly that statement was, but only time will tell if this is going to be the kind of record you return to for years to come.