Torontonian pop trio D I A N A made something of a splashette when cutesy/ kitsch synth-wave cruiser Born Again dropped midway through last year though subsequently, they were made to face up to that palpable fear of every modern-day recording artist to have had that little bit of buzz picked up on the blogosphere’s ever active Richter scale: the quiet after the clamour. Personally, the unwieldy stylisation deterred me somewhat at first although arguably, what’s in a name anyways? Both that and Perpetual Surrender proved enticing, if at times unassuming listens to insouciantly nod along to over those now distant estival times. Nonetheless we’re now in the midst of a gelid midwinter, and misgivings about the moniker have certainly never affected the supremely named Doldrums, aka the commensurately impressively baptised Airick Woodhead and whilst it may perhaps be deemed something of a misnomer of sorts (Woodhead’s subversive and scronked visions of 21st century pop are light, if never fluffy nor indeed as leaden as the nom de plume may insinuate), his output under said guise has rarely fallen anywhere short of the unequivocally engaging. And his reinterpreting of Born Again represents just that once more: an initially smooth and subtly jazzed lollop, inevitably Woodhead is swift to spin the thing on its head as he introduces a glitchy tick and a sardonic Game Boy blip to offset the skittering bits of original. Carmen’s vocals filtered through a Zammuto-esque Auto-Tune it eventually breaks down into, well, the sound of a broken record, though one to have lived its existence to the full and gone out in the only way it would’ve wished for. It’ll probably experience resurrection in the form of yet another remix before you know it anyhow.
Dot Dot Dot
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