Aaron frazer // introducing…
Naming your debut album Introducing… requires a certain amount of certainty that you are someone that needs to be introduced. Yet that is what Aaron Frazer has done, and if his dazzling, graceful, near jaw-dropping fore into the indie pop world is any indication, he has earned the moniker. He has, for all intents and purposes, arrived.
With a soaring falsetto that recalls Barry Gibb, Frazer glides through the lollipop wonderland that comprises this twelve-track groove-a-thon. On the opening tracks “You Don’t Want to Be My Baby” and “If I Got It (Your Love Brought It)” we think we know what we’re in for-- bedroom pop in the flavors of Rex Orange County and chord structures similar to the late Richard Swift. Should it have stayed in that particular subset of indie pop, the album would still be a worthy contribution. The third track, “Can’t Leave it Alone,” feels like a collaboration between The Black Keys and Tuxedo (which makes sense-- the delightful production and arrangements are provided by Dan Auerbach of The Black Keys).
Then on “Bad News,” something happens. There are flutes and didgeridoos over an electric organ, and when that very Seventies vibe is matched with Frazer’s timeless crooning, the immediate thought is that this is Marvin Gaye territory. This gives the album a newfound depth that often eludes freshmen efforts. Generally, debut albums are either cut and paste, with a number of warring sounds and genres combined into a sonic modge podge; or conversely they have three or four terrific tracks and the rest of the album all sounds the same. “Bad News” tells the listener that Frazer knows exactly who he is and that he’s not afraid to push himself, because he will always come back to “the sound,” that ethereal, intangible descriptor that says “I have built a universe and I know the rules.”
The journey continues with the spare-but-warm “Have Mercy,” whose swaying, sensual hook is elevated by a backup choir. Again, it comes back to cohesion: “Lord, have mercy” he sings while the church chorus supports him. It’s on the nose without being overly obvious, you just know it works without thinking about it.
“Done Lyin’” is synthy and soulful, a song that could have come out in 1977, 1997, or today and no other times. “Lover Girl” is a track “Can’t Take My Eyes Off You” era Frankie Valli would have done things to sing. It bops and flows, so smooth that Frazer’s pure voice skates through it like a sexy Michelle Kwan. And just when you think you understand where we are in space and time, just when you think you’ve got his number, a little something called “Ride with Me” happens.
How “Ride with Me” was not written for the Jackson 5 is actually mind-blowing. “If we don’t change/then we stay the same” he sings, easily and effortlessly gettin’ down in this song about a train that’s headed towards a Better Day™. To have the gall, the audacity, the sheer chutzpah to write a song in 2020/2021 that is unapologetically optimistic, that uses a “Love Train” metaphor (thank you O’Jays), is as refreshing as it is nearly painfully pure.
“Girl on the Phone” takes us right back to the funky world of “Done Lyin,’” although it’s lyrically quite different than anything else on the album. He tells the story of waiting on line at a coffee shop, overhearing a woman’s conversation with her partner, and feeling alone because he doesn’t have anyone to bring tea home to. It’s a bit repetitive, but if that’s the most egregious error on the album, I’ll take it.
“Love Is” is the type of song you know a late night DJ on your local NPR affiliate is going to love to play around midnight-- at that is a compliment, because were that a genre all it’s own it would be in my top five. It has the vibe of laying on a blanket next to someone you love, staring at the night sky, completely in the moment.
“Over You” is a 9th inning home run. It’s the second to last track and has a surprising drive. In fact, that drive is full throttle. It has all the electric power to fuel a Tesla. It’s a fun ride, and sounds a bit like if Maroon 5 was actually a good band.
The album closes out with “Leanin’ on Your Everlasting Love,” which is straight up Smokey Robinson and the most brilliant way to end an album that encompasses a sound both modern and classic.
Introducing… is a remarkable achievement for both Frazer and Auerbach. It firmly cements Frazer as an, as they say, “exciting new artist.” To burst onto the scene with a fully formed musical persona, a unique vision, and an incredible contribution is all too rare an occurrence.
Ladies and gentlepeople, introducing Aaron Frazer.