The Plot
Danish disco punk. Sounds like a contradiction in terms but Who Made Who aim to set the record straight. So why the eerie Robin Hood-esque woodwinds? Why the yelping falsettos to precede TV Friend? Ah, that’s better. A few minimalist basslines and you can finally see what the fuss is all about, even if Tomas Hoffding sounds a tad more robotic than perhaps needed. Thankfully Hoffding proves he can hit the high notes in The Plot, with his rising, relieving vocals lovingly smothered over more minimal beats and blissfully lazy guitar. If anything, Who Made Who excel with seemingly the least amount of effort with a deft nod towards Portishead. Gently lulling you in with an Arabic influenced, comatose drum beat before hypnotic vocals and when you realise your noggin is nodding away it is already far too late during 'Small Town City'.
Finally, 'Trickster' induces a little urgency as the track dips and slaloms dictated by insurgent, choppy guitar. 'This Train' supposes something altogether rougher in their very own ode to garage rock, at least that is what it suggests with the sort of guitar noodling that Jack White would doff his cap to, coupled appropriately with frenetic drums that his sister/cousin/whatever would be proud of. As if to cover all bases 'Office Clerk' morphs from pedestrian dance floor chic to incendiary rave. Despite the deceptively tedious title, the track is everything it proposes not; funky, arrogant and joyously capricious.
After all that effort, 'Ode To Joy' showcases subtlety, providing synths for a soothing song that Sunday morning hangover will thank you for. Knowing what the outfit are now capable of accompanies a heightened sense of expectation so negating the momentum with the laborious 'Motown Bizarre', the giddy, bleary eyed 'I Lost My Voice' followed by the abominable 'Cyborg' is a fail of epic proportions. 'Raveo' begins to make amends, reverting back to a riveting concoction of atmospheric synths and nominal beats. Perhaps the trio ran out of ideas but 'Working After Midnight' leaves the album on a flat note.
A line-up encompassing musical backgrounds in underground garage rock, avant garde jazz and electro should find it difficult to get along, let alone work well creatively. For Who Made Who, their second album is somewhat challenging to pin down; be it rave, trip hop, or even loosely termed experimental. With a musical approach as haphazard as their moniker, this is one of few albums you could put on and simply not know what to expect and for that, Who Made Who have to be appreciated.