“Leaving behind a nation of cold shoulders with the help of Far*East Movement and his own shiny new VEVO channel, he’s heading to the US”
Digital Release: July 18, 2011
Physical Release: August 7, 2011
It’s hard watching from afar as one of Britain’s home-grown talents packs up shop and moves their attention across the pond in a bid to appeal to a larger audience. Especially if you’re British. But it’s even more annoying when all efforts henceforth are concentrated on the US market and the British fans – however few – are left completely neglected by the artist in question. Frankmusik, the missing link between Mika and Calvin Harris (but lacking the sub-adolescent angst poetry of the former and the production expertise of the latter), was greeted with a cold reception from British audiences upon his début, ‘Complete Me’, (his highest charting single is a lacklustre #26 and the album only made #13) and his smart-boy appearance and uncomfortable-sounding lisp whilst singing acted like a vacuum on his commerciality, with many critics fast running out of words like “twee” and “quirky” as they tried to pinpoint exactly what Frankmusik was meant to be.
So with his second album, he’s set his sights on leaving behind a nation of cold shoulders with the help of Far*East Movement and his own shiny new VEVO channel, and now he’s heading to the US, adopting a sound more influenced by the urban/dance movement of current times and ditching the cheap and cheerful electropop songs that delve puddle-deep into the emotional minefield that is teenaged romance. Now he’s a grown man and instead his lyrics have matured in the sense that there’s no more rhyming like “All the tears you made me cry/Now it’s time to say goodbye” and more like “We only do it in the AM/We only do in the A to the M/Then we do it again, baby”. His quest for momentary significance and success has led him to rope in Far*East Movement, responsible for one of the worst songs of last year, ‘Like A G6’. They’re one of many go-to acts when there’s a song about a party in need of ‘urbanisation’ and when their turn on ‘Do It In The AM’ comes round they’re more than happy to name-check Frankmusik, themselves and their album as well as other sloppily-delivered lyrical drivel that slips by unnoticed.
On a more positive note – and quite possibly the antidote to the rest of the song’s frequent blemishes – ‘Do It In The AM’s chorus is really very catchy, and is suitably enthusiastic and eager to please, but only in small doses. A listener unsmitten by the prospect of a Frankmusik chat-up line involving licking up tequila and fitting you like a glove can enjoy the song before it either overwhelms or repulses, rendering the song a complete bore and leaving you in anything but the mood to go and party.
So when I said it’s hard to watch British talent go on a one-way transatlantic flight and surrender their more moulded, more defined roots, there are some exceptions: Frankmusik is one of them, having decidedly chosen a more generic route to fame.