Breaks Co-Op: The Sound Inside

Generally speaking, DJs are lauded for the music they play out, not the music they play in. Not so Radio 1 presenter Zane Lowe, band member of Breaks Co-Op by day, world-renowned disc jockey by night. Regarded as one of the most popular DJs on the UK airwaves, his show goes out four evenings a week, during which he enthusiastically spins an eclectic mix of new and trendy sounds that he tips for the big-time. However, not all of his listeners may be aware that radio wasn’t the beginning of Zane’s musical career. For those as slow on the uptake as me, the mid-’90s saw him team up with fellow New Zealand producer Hamish Clark to release Roofers, a collection of funky electronic trip-hop tracks that won them critical acclaim in their native land.

Now, nine years since the release of their debut, Lowe and Clark are back in business, but it’s far from business as usual. Some big changes have been made since their first outing, most notably their use of live instrumentation, as opposed to the purely electronic production of Roofers. Also, the recruitment of husky voiced crooner Andy Lovegrove of the Away Team has expanded their duo to a trio, adding potential for writing with a much more traditional song format.

So, have these dramatic modifications radically affected their overall sound? Undoubtedly yes. Whereas their mid-’90s synthesised funk/trip-hop breaks could have slipped unnoticed onto LTJ Bukem’s fashionable Earth series, their new style sees them ease off their electronics in order to strum an acoustic guitar, creating a more natural and organic backdrop to compliment Lovegrove’s delicate vocal. This is not to say that the lads have changed their spots completely, for hints of their synthesised past can be found dotted throughout the album. The laid-back electronic groove of “Twilight” could have even been lifted from their debut. Likewise, the funky basslines and attractive synth arrangements of “Question of Freedom” may cause veteran followers to prick up their ears. But for the most part, the end product is a collection of ’70s soul-influenced, guitar-driven songs with a pristine production quality, destined to be played in the trendiest of coffee shops.

Their change in direction has already proved to be a shrewd move for Lowe and Co. When released in New Zealand last year, The Sound Inside rapidly gained double-platinum status. This comes as no big surprise. Whereas their debut was perhaps a little too specialised to break the mainstream, the addition of Lovegrove’s soulful voice makes their new album an appealing proposition to the wider listening public. The album’s massively popular single, “The Otherside”, proves as a testament to this. The mellow guitar strumming and relaxed vocal style on this sickly sweet number won them ‘Song of the Year’ at the 2005 New Zealand Music Awards. By displaying the same kind of easygoing cool as recent efforts from Fat Freddy’s Drop and Jack Johnson, “The Otherside” also succeeded in hitting number 9 on nationwide radio airplay in the UK. When you sprinkle Zane Lowe’s enormous personal fanbase on top of that kind of accessibility, Breaks Co-Op become a marketable product of epic proportions.

Listeners new to Breaks Co-Op that are expecting this album to be as buoyant and energetic as Zane’s shows will be disappointed. Many may be surprised to hear that the man who has championed hard-edged rock outfits such as the Editors and Arctic Monkeys spends his spare time dabbling in chilled-out soulful folk-rock. It also may come as a blow to some that a radio DJ so intent on breaking new and ‘alternative’ pop talent could be involved in such a musically derivative project. Indeed, such frequent and close resemblances to Turin Brakes and Zero 7 dictate that The Sound Inside was never intended to be a particularly groundbreaking or unique record. However, Breaks Co-Op have the slight edge on many of their counterparts fighting for a spot on that Starbucks stereo, thanks to their ability to flit naturally between contrasting genres throughout the record’s entirety. Occasionally straying from their downbeat guitar-led template, the trio indulge themselves in hip-hop beats, jazzy saxophones, funky basslines, and lush synthesised backdrops. They aren’t afraid to attempt the odd crossover either. “Wonder”, for example, sees them merge a very heavy DJ Shadow-esque drum loop with their new-found penchant for guitars, creating a sound not dissimilar to Psyence Fiction-era UNKLE.

Despite choosing to dip into various genres throughout the record, Breaks Co-Op have succeeded in creating a summery album that is both musically accomplished and structurally cohesive, but pretty dull overall. What inhibits The Sound Inside from being a memorable album stems not from their natural song writing ability, but from a lack of imagination and overall ambition. This is a well-constructed long player, and suggests they are all competent musicians with an ear for an interesting crossover. Unfortunately, they seem content to play it all a little too safe, opting not to explore any of the genres they touch on in any substantial depth. This results in a record devoid of any real spice, limiting it to being little more than a tepid soundtrack to a middle class dinner party. They also don’t help their case by appearing to show about as much interest in their lyrics as an Eskimo might take in an ice machine. One only has to listen to the chorus of “You’re My Lady”, as Lovegrove croons “You’re my lady / You’re my baby / You’re the one that understands / You’re my lady / You’re my baby / You’re the one who wins my hand” to realise that they’re unlikely to win any poetry competitions in the near future.

All of this aside, the album does sparkle in places. Highlights include the droning guitars and wistful vocals of “Lay Me Down”, which recall fond memories of an Automatic for the People-era R.E.M. Also, Lovegrove’s serene and heartfelt vocals on “Ima” show off the group’s very apparent idolisation of Marvin Gaye. This, combined with their squeaky clean production skills, creates a genuinely memorable and affecting piece of modern soul.

On the surface, it is difficult to dislike this record. After all, it is well-produced, elegantly crafted, and reveals a band with a deep appreciation and knowledge of many contrasting genres. But however inoffensive this record may be, it could have been a great deal better if they had just dared to be a bit bolder. It’s a crying shame that Breaks Co-Op choose to squander so much of their obvious potential, simply by settling for such an incredibly ordinary sound. If they can find the courage to develop their wealth of interesting ideas, maybe in the future they will produce an album with a little bit more to offer.