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Record Review: French Horn Rebellion’s The Infinite Music of French Horn Rebellion

By / Posted on 25 April 2011

The Infinite Music of French Horn RebellionDavid and Robert Perlick-Molinari decided they wanted to make dance music. Realizing there was little to no dance scene in their native Wisconsin, the brothers set up shop in Brooklyn. Williamsburg to be exact.

This is the point where native New Yorkers groan with an expectant exhaustion, and with good cause. Williamsburg, once the last bastion of cheap urban living for broke artists in the greatest city in the world, has long since become gentrified and is now the overpriced 24/7 runway for young fashion models and trust fund brats with handlebar mustaches, regardless of gender. While this may only be obvious to the people who live in and around New York, the creative works that come from Williamsburg are often influenced by this environment.

And so we enter the much-hyped debut LP from David and Robert’s French Horn Rebellion.

The Infinite Music of French Horn Rebellion suffers from Clap Your Hands Say Yeah Syndrome in that it features an absolutely unnecessary intro track of noodling synths. This sort of thing is an instant turn-off in even the best albums, as evidenced by CYHSY’s debut and The Dears’ Gang of Losers. This pointless waste of 102 seconds is a perfect example of everything that is wrong with the album as a whole: it’s overly long, full of itself, and does the things it thinks an album is supposed to do because it  has heard those things somewhere else before and thought it worked there so why not give it a shot.

In this post-Daft Punk/LCD Soundsystem/Justice environment, it’s not enough for an electronic dance song to simply have a 4/4 beat with one catchy hook. The Infinite Music of French Horn Rebellion, while inoffensive and danceable, ultimately feels shallow and pandering. It comes across less as an album and more a demo tape of the first fourteen songs written after figuring out how to use a Moog synthesizer. These gentlemen need an editor. Let’s hope they find one for their next album, before they discover how finite fame can be.

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Derrick Sanskrit has produced critically-acclaimed work as an artist and writer for Nerve, Babble, Pitchfork, The Onion and the Museum of Comic and Cartoon Art, among others. He founded The Pop Aesthetic during the coldest months of his life in 2010.