I wish New Wet Kojak were an instrumental band. I actually sincerely wish that. Their sound is actually pretty unique. They've got polished, low-key fusion/funk grooves with lushly orchestrated synthesizers and—get this—a sax player who never gets in the way! That's right! A saxophone player that doesn't get in the way! In fact, he actually helps the sound, melodically and texturally! There's something special about this. Yes, Kojak's music is pretty damned enjoyable. At times, with a bit of that saxophone and some of these moods, it reminds me of Bowie's better mid-70's moments. Other times, it reminds me a bit of Morphine with more dynamic range and studio finesse. But it generally doesn't call to mind many comparisons unless I concentrate on finding some.
And then we have spoken word vocalist Scott McCloud. This guy manages to almost ruin everything. Thanks, Scott. Comparisons easily spring to mind here. We've got a lovely cross between M. Doughty, Mark Sandman, and Ian Svevonius talking in his sleep. I love all these guys, too. But McCloud just doesn't have the touch. In fact, he so does not have it that it gets awfully irritating. I think I'd just like to take one example, and then you'll generally get the concept of the other three songs here. Let's quote as many lyrics from the song "Sophia Loren" as possible before I feel you've really gotten the gist of it. McCloud, take it away: "I mean, way back/ Way back/ Sophia Loren/ Sophia Loren/ Sophia Loren/ I mean, way back/ Number 1 superstar/ Number 1/ Sophia Loren/ Sophia Loren/ Sophia Loren/ Ow!/ Sophia Loren/ Sophia Loren/ Yeah, it's a wild world now/ I mean, way back/ Way back/ The top 10 number 1/ Sophia Loren."
Okay, really. Plenty, right? A couple of the jams on this EP, as well as their last album, Do Things, are so slick that I can justify listening to Scott's ramblings. In fact, "Love Career" was one of the more intriguing tracks from Do Things before it was... excuse me while I shudder... remixed for this release. A repetitive string sample and insultingly boring drum machine take the place of the music, and may I remind you that the music is the good part about New Wet Kojak. Basically, listen to this stuff if you feel you might be able to get past the vocals; they don't truly dominate, but they're often present enough to put me off. Maybe I'll see them live. You can't usually hear the vocals in those clubs anyway.
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