My parents used to have a Bendix washing machine (more accurately a Tricity-Bendix, the latter part being the brand name) and, would you Adam and Eve it, I’ve got one too. They are renowned for their reliability at low cost.
That useless piece of information does actually serve a purpose because it sounds as if Elias Bendix put his lyrics in his washing machine, on the spin cycle.
“Who’s to Blame my future?/Everyone can figure/ Does it really matter?/What good does there answer…
Time persists to change our mind before we call a quiz…
Cause Life is way too precious/to live without its treasures/I wish that I could change the weather/But wouldn’t sacrifice my pleasures so/Who’s to blame?”
Oh dear. I could go on but I won’t.
And I’m not sure right now who he’s trying to blame, and for what?
I’m not normally one for offering advice but in this instance I’d urge Elias to employ a native English speaker to clean up his lyrics and instil some meaning in them. Or to write in Danish. (Or Italian, as he appears to hail from that country).
It’s a pity they are so aberrant because the song itself isn’t at all bad.
His normal style is an adventurous mix of pop, jazz and funk, inspired by the likes of Daft Punk and Jungle but on ‘Who’s To Blame?’ he has shifted in a ‘housey’ direction.
Actually, when you realise that the subject matter is ‘climate change’ then some of the lyrics do start to come into focus (changing the weather without sacrificing one’s pleasures, for example). Indeed he asks a profound question, namely how much of a difference individual sacrifices make in the grander scheme of things. (I accidentally put my paper waste in the ‘general trash’ bin will the planet burn as a result?)
What I‘d like to see is someone writing a song about the cost of ‘net zero’ ($275 trillion to 2050 according to Mckinsey, who’s going to pay for that?) But for now Elias’ sensible balanced approach will do just fine.
Musically it is built around the disco four on the floor beat (the bass drum sounding on each beat in common time like a heartbeat), with a bass guitar playing around it and little lead guitar and synthesiser interludes. It’s catchy and you’ll quickly be hooked.
The video that goes with it, which isn’t credited but may be the work of ‘Moreton Lovechild aka Morten Kronborg’ is worth a look. It doesn’t seem to have anything at all to do with the song, being rather a montage of arty shots of Bangkok, old and new, in the company of an assortment of flash cars, pretty, scantily clad girls, a Michael Jackson impersonator (or perhaps it is Michael) and an astronaut floating around a space station, and all overwritten by computer code; the sort of thing Michael Mann might put together. Eye candy in its own way, but baffling all the same.
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