Fat Freddy’s Drop – Dr Boondigga & The Big BW

Review for Nexus Magazine (www.nexusmag.co.nz)

Almost four years after releasing their 7x platinum debut album, Wellington six-piece Fat Freddy’s Drop return with their next offering: Dr Boondigga & The Big BW. I have thought for a long time that dub music in general is overhyped and overexposed in New Zealand, and it is always a pleasant surprise to find something fresh once in a while. I felt that way when I first checked out Kora’s self-titled debut, and I feel the same way about this album.

To be honest, I was not expecting to enjoy this album. I never got into their first album Based on a True Story, and I was thoroughly sick of Wandering Eye when it was being played on TV and radio constantly. The strength of Dr Boondigga & The Big BW is its variation. Whereas Kora draws its strength from its genre-crossing rock fusion, Fat Freddy’s Drop seems to have found fresh sounding material in a very familiar genre. No easy feat!

The album kicks off with a chilling synthesisor riff on Big BW. Their brass section sounds fantastic in this song and is definitely one of the highlights throughout the entire album. It is a track that seems well suited to its winter release date. Usually I would groan at the thought of listening to a 10 minute long dub jam, but Shiverman is enjoyable from start to finish, moving along at a lively pace. It is on the track Boondigga that Fat Freddy’s Drop really hit their stride. This soulful song is, in my opinion, a career highpoint for the band; infinitely more catchy, tuneful and enjoyable than their breakthrough single Wandering Eye. The beautifully washed out end to the song is a great end to the first part of the album.

Admittedly I cringed at the start of The Raft, as the refreshing album reverted back into familiar dub territory that could have come from any dub band around New Zealand. Pull the Catch continues this trend, and while it is better than The Raft, is certainly doesn’t strive to get out of its comfort zone.

It gets a bit more interesting with the song The Camel, with a guest appearance from soul singer Alice Russell. There is much more variation in this track, and, dare I say it, a guitar solo! The Nod is another great showcase for their brass players, delivering some great brass hooks that makes latter-day Black Seeds tracks seem rather weak in comparison.

The sparse electronic beats of Wild Wind suit the mood of the track perfectly, accompanied almost completely by synthesisor. This stripped back track sounds rather eerie without the heavy brass featured earlier in the album. Breakthrough, the final track on the album ends the album on a high note. Its gloriously cheerful organ outro is a great way to end the record.

This is a must own album for anyone who has had an interest in the band previously. There are plenty of great instrumental moments on this album to appeal beyond the usual dub crowd. Not a perfect album, as it does feature a few dull tracks in the middle, but on the whole it is a very enjoyable experience. If you’re looking at getting this album, grab a CD copy. It has fantastic album artwork!

Rating: 4/5