Photo by: Michael Dahan
DJ albums are tricky. On one hand, it’s got to prove your prowess as an electronic producer. On the other hand, the album needs to have enough solid hooks to be marketable outside of the EDM community.
On Morgan Page’s fourth LP, In the Air, the Grammy-nominated DJ demonstrates this tension, with his album for the most part failing as either an electronic oeuvre or a solid pop statement. Despite some notable production, the album is significantly weakened by an overabundance of clichCB)d and melodramatic lyrical constructs, of which the mushiness undermines the crispness of Page’s instrumental arrangements.
We’ll start with the good – Page knows how to work a rig. His synth sound is pleasingly warm, with a roundness that massages your eardrums while simultaneously demanding, and deserving, your attention. His beats are similarly arresting, crisp and strong all across the board. Unfortunately, production talents do not a good songwriter make, and instead of primarily showcasing his clear instrumental expertise, Page attempts to create an entire album of dramatic, four-minute-long radio hits, an attempt which is undercut by several bland guest appearances marked by tacked-on hooks and throwaway, maudlin lyrics.
However, for the first half of the album, Page’s approach does seem rather fresh. Opening track “In the Air” begins with tinkling xylophone juxtaposed against some deep percussion, sounding very much like the calm before a storm. Guest vocalist Angela McCluskey’s performance is pained, dramatic and effective, and as she remarks “I’m feeling a change in the air,” the song sounds like the opening statement to a full-on musical manifesto.
“Body Work,” which features dueling vocals from Tegan and Sara, is another gem, with a unique, clever hook (“You do your body work/I feel my pulse working overtime”) and some attention-grabbing vocal manipulation. Page’s cover of The Police’s “Message in a Bottle” is also a welcome surprise, with a pulsing, brooding synth track that successfully underscores the melancholy of Sting’s lyrics.
Melancholy, however, is best if used sparingly, and unfortunately, In the Air is positively drenched in drama from start to finish. The duo of guest appearances from Richard Walters is the worst example, with the British singer on “Light Years” spouting some atrocious lyrics: “It’s not up to me, it’s down to you/I can change if you can too.”
Following track “Love’s Mistaken” suffers from the same over-sentimentality, with guest singer Shelley Harland pining: “Maybe our hearts just don’t belong to one another, baby/Maybe we got the timing wrong, maybe this love’s mistaken.” Maybe. Maybe not. In either case, you’ll have stopped caring midway through the second chorus.
Fortunately for the album, there is a late gem in “Gimme Plenty,” which ditches the schmaltzy and embraces the sultry, with a potent hook enlivened by guest Shana Halligan’s seductive delivery. “Get me, get me off, give me love, give me plenty/I’m going to take you, break you down and save you,” whispers Halligan, in a manner conveying both power and submission. One of the sexiest songs you’ll hear all year, “Gimme Plenty” stands out dramatically from its blubbery neighbors, and is an extremely welcome surprise late in an album you’ll likely have given up on.
The melodrama persisting throughout the entirety of In the Air doesn’t really come as a surprise – the opening few tracks are filled with as many bold statements as are the closing numbers. The reason why a song like “In the Air” succeeds while one like “Light Years” fails, however, is the former track’s got the vocal performance and hook to justify its grand statements. Without these key elements, many of the tracks on In the Air simply sound like weak attempts to generate radio hits, and as a result, they fail to either capture your heart or get you onto the dance floor.
It’s unfortunate, then, that even as Page demonstrates his adeptness at constructing synth parts and rhythms, most of his solid instrumental foundations are overshadowed by bland vocal performances and cringe-inducing lyrics. Had he ditched some of the guest stars, and instead showcased more of his abilities as a producer, In the Air could have been a great album. Instead, it barely even leaves the ground.
Catch Morgan Page this Thursday at Beta Night Club in LoDo. Tickets are $12 online, or $10 if you buy them at the door.
