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It’s a special experience to watch an artist’s relationship with the work he creates. For those who find themselves in the industry of creation, life becomes defined by the art that someone creates. And in some very rare, deeply saddening cases, one’s death becomes defined by their art as well.
Last Friday, The Frightnrs, a relatively unknown band operating under Daptone Records, dropped their newest album. Aptly titled Nothing More To Say, the release was marred by the untimely death of the lead vocalist, Dan Klein to amyotrophic lateral sclerosis early this summer. ALS is a debilitating disease and though it has taken the life of an up-and-coming artist, it has not taken the voice of Nothing More To Say.
Fittingly, Dan Klein’s ethereal voice is at the forefront of the album’s strengths. Klein has the unique ability to emulate artists from the golden age of reggae, giving himself not only an air of mystique, but one of sophistication as well. Klein’s mastery shows through in the back half of Nothing More To Say, particularly with the song “Hey Brother (Do Unto Others).” His voice echoing through the background into the foreground, Klein sings of brotherly love and treating others right—by no means a new concept, but one that is expertly utilized by The Frightnrs.
Expertise is what carries Nothing More To Say, truthfully. On their website, Daptone Records outlines this: “You’ll find no imitation here—none of the faux-Jamaican cliches of lesser reggae bands.”
https://www.youtube.com/watch?v=RZktkSqIRuU
Their description is more than just corporate propaganda—refreshingly, it is the truth. Nothing More To Say opens with “All My Tears,” a smooth intro into the sounds of The Frightnrs. As the song progresses, it adopts more and more of the classic reggae vibe, leading right into “Nothing More To Say.” The title song is the album’s best. It sounds like it was ripped straight off of Bob Marley’s Catch A Fire—this is meant in the very best of ways.
This is, unfortunately, where Nothing More To Say begins to falter. No album exists without weaknesses, and Nothing More To Say’s is its homogeneity. Embodying a problem that tends to plague recent releases within the reggae genre, “What Have I Done,” “Purple,” and “Trouble In Here,” feel ever-so-slightly uninspired—a bit of album-filler to pad the stronger pieces of Nothing More To Say. “Till Then” and “Lookin’ For My Love” bring back some strength to the progression of songs, but at this point in Nothing More To Say it feels as though the listener’s will has been worn down. Hardcore fans of the genre will likely not confront this issue, but casual listeners may begin to feel that the songs on album are overly similar. By no means does this make Nothing More To Say weak—it is actually of very high quality—but this form of songwriting does not introduce an environment that fosters newer listeners. Some may be converted, but Nothing More To Say will most definitely find its home with those who love reggae as a genre.
Dan Klein is full of life as Nothing More To Say comes to a close. Even with its weaknesses, the album truly does demonstrate a mastery of the finer points of the reggae genre.
Last May, Klein said in a public interview, “You’ll notice there are no Jamaican accents on this record.”
The willingness of The Frightnrs to commit to their own style rather than inflame a fleeting popularity gimmick speaks to the professionalism with which Nothing More To Say is imbued—from beginning to end, the album is a work of art. It is a genuine shame that the guiding light of The Frightnrs has faded as quickly as he appeared.
Featured Image By Daptones Records
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