Fink retuns with the album of his career
Fin Greenall has come a long way since his 2000 debut Fresh Produce. When he started he was basically a trip-hop acid jazz artist. His debut was chocked full of the beats and samples that made N-Tone albums something different. When he returned in 2006 he had something different. Biscuits for Breakfast was stripped down album. It was so far stripped down in some parts is was just Greenall’s voice and an acoustic guitar. It was one of the biggest shock albums of that year, but also one of the best albums too.
Since 2006 Fink has released five albums continuing in this vein, but with each album he has pushed his song writing and musically they are more complex and entertaining. Now he has returned with Hard Believer. On this album we find Fink mixing his past and his present. There are more FX tricks and his playing it more emotive. It is his most cohesive work.
The standout track is Pilgrim. It starts off with a broody repetitive riff, that builds the suspense and emotions until a maelstrom swirls around you, then at the pivotal moment it calms down again. This is Fink’s electro\dance mind coming into play. If you removed his acoustic guitar and add in a woozy\wonky synth you’d have a great dance track. This is cleverness of Fink’s work.
The rest of Hard Believer follows this pattern. The songs have peaks and valleys and at times they are wonderful, but near the end the songs start to sound a bit samey. This isn’t criticism on |Fink’s song writing, but on the limitations of a voice and a guitar. Even the best Nick Drake albums drag in places. This might seem like a chill out album, but it is far more than that and you are doing it a disservice so pass it off as disposable background music.
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