{"id":39668,"date":"2006-03-03T00:00:00","date_gmt":"2006-03-03T00:00:00","guid":{"rendered":"https:\/\/dailyvault.adishjain.in\/index.php\/reviews\/sound-living\/"},"modified":"2006-03-03T00:00:00","modified_gmt":"2006-03-03T00:00:00","slug":"sound-living","status":"publish","type":"review","link":"https:\/\/dailyvault.adishjain.in\/index.php\/reviews\/sound-living\/","title":{"rendered":"Sound Living"},"content":{"rendered":"

<\/p>\n

In the eighties, when pop was frivolous and
\nflamboyant, the UK produced one of the greatest bands of that era,
\nthe Eurythmics; a man-woman pop duo that was ironically all about
\nunpretentious and intelligent pop music. Almost 20 years later, we
\nhave Drunk With Joy, a male-female duo — also from the UK — that
\nfollows the footsteps of the Eurythmics, in terms of the smartness
\nand straightforwardness in its music. Sound Living<\/i> is only
\nDrunk’s first album; but it shows a lot of maturity and
\npromise.<\/p>\n

In this present electro-pop craze of
\ntechnology-hungry musicians seeking sophisticated electronics to
\nget a richer sound, Drunk’s creativity in simplicity shows that
\neven for electro-pop, technology is not the only ingredient for a
\ngreat song. The uniqueness of this pair — consisting of vocalist
\nMila Oshin and musician Kris Jager — is that their songs are
\nminimally bestowed with gaudy production effects. There is almost
\nno fancy atmospherics to extra spruce up the songs here. Still,
\nthere is never a moment on Sound Living<\/i> where the production
\nis lacking, and the album sounds elegantly polished. Even amongst
\nthe frugality of this record, meat is added wherever necessary,
\nlike chunky beats, lush synths, and razor-sharp guitars, without
\nbeing too indulgent.<\/p>\n

Oshin is not the most brilliant vocalist in the
\nworld. But on Sound Living<\/i> she demonstrates that it is not
\nnecessary to have an extraordinary voice to be a good singer. She
\nsings within her limitations and her stoic vocals suit the kind of
\nsongs written on this album; the singing and the lyrics work to
\ncomplement each other.<\/p>\n

The cut “Woman,” for instance, is feminist but
\nsneeringly so, and gets a good deal of sarcasm from Oshin’s apt
\nvocals. Also, the cynicism on “Our Friends The Actors” (a pitiful
\ntake on faking in everyday situations of life) and the
\nresentfulness on “Go In Stay In Tune In” (a skeptical look at the
\nmedia’s dominance over us) couldn’t have been better expressed than
\nby Oshin’s impassive singing. In addition, Oshin’s vocals add a
\nkind of Fiona Apple-ish arrogance to the band’s love songs, which
\nmake them sound weirdly unconventional.<\/p>\n

Sincere and non-presumptuous alt-pop is Drunk’s
\nmantra for creativity, and the formula behind Sound Living<\/i>.
\nThis formula seems to work perfectly, as this record shows an
\nimmensely promising act for the future. Drunk has the potential to
\nbe this generation’s Eurythmics; hopefully someday it will.<\/p>\n

[For more information on Drunk With Joy, visit<\/i> www.drunkwithjoy.com<\/i><\/a>]<\/i><\/p>\n

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