A collection of deceptively straightforward folk-rock exploring deeply personal themes with understated gracefulness.
“Satan is my father”, are the first words heard on the latest release from Germany’s The Green Apple Sea and it’s as intriguing a line as you will hear to begin a song, let alone an album. It’s a bold missive that more than succeeds in earning the listener’s attention. Dark Kid plays as a concept album of sorts, detailing aspects of singer Stefan Prange’s less than idyllic childhood, sequenced as episodes, as if listening to a podcast or watching a television show. Despite the seriousness of the subject, the lead track That’s how you called him when I was small, (or Episode 1, if you will), bounces along on a rather jaunty, mid-tempo beat, complete with some lovely acoustic guitar and even some whistling that belies the heaviness of the words being sung. It’s a formula that the band employs for most of the album’s tracks resulting in a record where even though the lyrics might not always be relatable, the music at least feels comfortably familiar.
Prange’s voice evokes rueful warmth, and he sings gently over understated backing on most tracks. The playing throughout is tight and gentle and the songs emerge in uncluttered, simple arrangements. It’s a credit to the musicians that they are able to keep the mood light, even hopeful, and are able to maintain an invitingly light touch to the proceedings that never distract from the central focus of the album, Prange’s painfully honest, but always interesting, observations about his troubled upbringing.
While the songs are played in a pleasantly listenable manner, at times there is a certain similarity to some of the tempos, arrangements and instrumentation. Inspiring touches such as the lovely counter harmony on I was a Dark Kid, the melodic bass line and syncopated drumming on the jazzy ending of Don’t Look Down, or the whimsical harmonies and piano on the album’s only non-original, I Like Rain, help to counter this tendency and take the songs out of their comfort zones.
At the album’s mid-point is the hooky, understated gem Big Heart, coming across as a countrified Fleetwood Mac, would no doubt have been the album’s hit single in another era. With chiming guitars, sun-drenched harmonies and a memorable chorus, it’s an album highlight. Elsewhere, the album’s liveliest moment arrives in the form of Grey Father Death, a melodic high point that plays to all the band’s strengths; a tuneful cheerfulness contrasted with arguably the saddest lyrics on the record. The song, similar to the rest of the album, is suffused with clever and playful harmonies that provide textures and a perfect counterpoint to some of the darker narratives being sung.
The album ends with possibly its finest track, the luminous You Got This. At nearly seven minutes, the song’s melody and harmonies slowly build in intensity until the end coda where the repeated mantra “Making someone else’s life (oh, I know this now) / A little bit better (It’s all about love)” provides a sense of closure for both the album and likely a difficult period in Prange’s past. It’s a joyful statement of intent and a fitting end to a thoughtful and enjoyable record that tackles a difficult theme with aplomb. Unsettling at times but ultimately rewarding.
