Bristol resident Finlay Shakespeare has with his debut album Domestic Economy, produced a fine, meaty slab of electro-pop that draws heavily on 90’s acid house and techno influences. There are some choice cuts here, but it does feel like there is some excess fat that could be trimmed off the sides.
The album as a whole feels like a collection of dance remixes of 90’s indie tunes, and as such has its high points and fillers.
There are some fantastic pieces on here, such as the utterly yummy Dublin that leans heavily on a house beat while layering acid-like effects on top – all carried along by a delightful bass line. Opener Luleå offers us a Blue Monday-style beat and a nice squelchy bass – beefing up Finlay’s rather thin vocal style.
Similarly, Benedict Canyon is pushed relentlessly along by choppy synths, electro horns and that classic 808 drum line. Monadnock brings more of a brooding menace alongside the acid hooks.
The album is far from perfect though. At points it starts to feel a little samey and the softer, slower tracks such as Perris and Pittville rely too much on Finaly’s vocals, which is probably the weakest element on the album.
This is a promising debut for Finlay and offers much promise. Not yet the finished article but I’m looking forward to seeing where he goes from here.
Release date: 01 February 2019
Standout track: Dublin
For fans of:
- New Order
- Depeche Mode
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