Joe Goddard – ‘Harmonics’ album review: Electronic music almost at its very best
THE SKINNY: Music has developed a great deal since dance first came about, but still, one of the most common criticisms you hear about the genre is that “all songs sound the same.” It’s a lazy critique, but it prevails as many people who hate moving and fun will roll their eyes at the sniff of an 808 and claim their chosen genre has musical supremacy. Well, if you subscribe to this view, Harmonics is here, and Joe Goddard has put together an album that shows the beautiful diversity available in dance.
As a member of Hot Chip, Joe Goddard is no stranger to getting people up and moving. You could say this kind of music runs in his veins at this point, but if you ever needed more proof that he is an electronic, dance and house maestro, you’ll find it on Harmonics. To have an album consistent throughout yet span so many different styles, sounds, and cultures is a true triumph.
The album has an absolute brevity to it. The moment the first few seconds of the opening track play, and a voice that sounds like it’s been rinsed through running water declares, “Moments die,” it’s hard not to be intrigued. Pair that with the funk-infused synth and shimmering vocals that shine throughout, and you have an opening song that beautifully sets up the rest of the album.
Goddard’s expertise is only further enhanced by the range of exciting features that make up Harmonics. The likes of Ibibo Sound Machine, Fiorious and Oranje make it so the whole album has no corner that can’t go undiscovered. Overall, this album is fun, expansive and an absolute masterclass in electronic music.
For fans of: Travelling without actually going anywhere, this is for the lazy backpackers; transportation via sound is possible!
A concluding comment from someone trying to make a teleportation device: “I honestly thought I’d cracked it, but it was just Harmonics.“
Harmonics track by track:
Release date: July 12th | Producer: Joe Goddard (and Al Doyle) | Label: Domino Records
‘Moments Die’: The album gets off to a funky start that is impossible to sit still to. As a trickling effect is applied to vocals repeating “moments die”, fuzzy synth and 4/4 drums are enough to get the stiffest of necks head bobbing. A dreamlike floor filler worthy of the most otherworldly of nightclubs. [3.5/5]
‘Progress’: Joe Goddard and Ibibo Sound Machine are a match made in heaven. The way that both artists can play with rhythm is a true testament to their mastery of music, and this song is an upbeat, enjoyable banger through and through. [4/5]
‘Destiny’: This is a song that feels oddly nostalgic in the way that it is structured and the overall sound of it. That being said, it doesn’t sound like a song stuck in the past, either. It’s pop, without a doubt, a style of music which is relatively timeless and well-reflected in a 2024 track that could easily have been released in the ‘80s. [3.5/5]
‘New World (Flow)’: Completely anthemic. The opening lyrics to ‘New World (Flow)’ hit the listener like a tonne of bricks as they are equally emotive and powerful. When a steady bass comes in to alleviate them slightly, they continue to have an impact but in a way that eases into the world of pop. This song crosses genres as something that, with different instrumentation, could be a soul-infused gospel tune that finds its place on dance floors. [5/5]
‘When Love’s Out Of Fashion’: A difficult beat to find a flow over, but Oranje does well in delivering excellent vocals throughout. The song is packed full of energy, unrelenting from the word go. The chorus is catchy despite being word-heavy, and it’s a lot of fun to listen to. [3.5/5]
‘Follow You’: It acts as a breather in many ways. It’s a lot more chilled out than those that came before, but that doesn’t take away from its beauty. It’s tranquil, with a gorgeous use of electronic music to create something sweet-sounding and undeniable. [3.5/5]
‘On My Mind’: The stand out in this track is the drum beat that kicks in the right way. It’s simple, but the fuzzy snare and consistency of it set the track up to be a dance number. While the reverb-heavy vocals might betray this feeling sometimes, this rocket fuel-like track is an ode to drums and dancing shoes. [4/5]
‘Summon’: A deep house number that would go down well in the smallest of clubs and the largest of fields. It has a transcendent sound of space, an energy that carries unbelievably well and doesn’t restrict itself whatsoever. [4/5]
‘When You Call’: Vocals are the star of the show in this track, not just in how strong they are but because of how easily they dance along the beat provided. Words are cut short and extended at will; they act as their own instrument throughout and are incredibly engaging. [4/5]
‘Out At Night’: A heavily autotuned harrowing song. One of the more melancholic numbers on the album, it feels less dream-like, as the other slower songs do, and more like a number lost in deep pondering. That being said it still fits in with the rest of the album despite being far removed from it. [4/5]
‘Mountains’: One of the most effect-heavy songs on the record. Vocals are distorted, layered and harmonised throughout over a plucking synth. The rhythm of the track is smooth, and the delivery is outstanding. Despite the fact that we are near the end of the album, songs like this make it feel like you’ve only just started listening and don’t want it to end. [4/5]
‘Ghosts’: A languid song that builds and becomes atmospheric yet keeps its humanity. It’s a little bit lacklustre compared to some of the other tracks on the album, but it’s still a nice listen. [3/5]
‘Miles Away’: This doesn’t sound like a song on an album; rather, the natural drum, windchime effects and bare vocals make it sound like something you stumble across at a festival. It has a harrowingly beautiful rawness to it and is one of the standouts on the album. [4.5/5]
‘Revery’: A great song to end on. It starts upbeat but tinny, with a lack of bass as stripped-back drums accompany vocals for the first minute. When the layers eventually kick in, we’re reminded of the enticing rhythm and atmosphere that makes this album stand out so much. The outro is elongated but hypnotic, spanning cultures and genres to create a brand-new sound that reminds us of home. [4/5]