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For a high-minded piece of process, one that rests on the old trope that the good stuff is always bad for you--or in this case, for the majority of the world--Herbert packs a lot of snap, crackle, and, particularly, pop.
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As with most things this conceptual, certain aesthetic sacrifices must be made. But Matthew Herbert is the remarkable musician, with his keen senses of rhythm and melody, who can pull off such an audacious ruse.
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The WireThese are what protest songs can sound like, feel like and taste like in the 21st century. [#257, p.52]
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UncutOnce you've digested the background information, tracks that seem slightly twee and aloof spring into focus. [Sep 2005, p.100]
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Throughout the album, the juxtaposition of Herbert's precise, seemingly innocent and light-hearted rhythms with heavier themes of economic exploitation and death creates an effective and practical dialectic.
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Certainly, "Plat De Jour" is one of the most ambitious records that will be released this year.
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Plat du Jour is a more interesting an outing for remaining ambivalent in spite of itself.
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With Herbert, I've always been happy to consider the political content of the records to be a clever bonus, while the music as a purely sonic experience is allowed to stand on its own. I listened to Plat du Jour five or six times without paying attention to the song titles and not having read the online methodological descriptions, and this one didn't hold up quite so well.
User score distribution:
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Positive: 4 out of 5
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Mixed: 0 out of 5
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Negative: 1 out of 5
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hedyvAug 17, 2006unbeliever