Chet Faker is a name that has been around for a while but tip now he has yet to release an album. The Australian is blessed with a voice of soulful leaning and is mixed with electronic R&B production; he even caught the attention of beer brand Becks, who used Faker’s cover of Blackstreet’s “No Diggity” in an advert during the 2013 Super Bowl. Working with fellow Aussie producer Flume helped to further achieve wider acknowledgement and Faker is signed to Future Classics, a label celebrated for it ability of pushing bands into the lime-light seemingly overnight.
The album starts with “Release Your Problems” and “Talk Is Cheap”, which are fine examples of the increasingly prescient electronic R&B sound. “Melt” was originally released in August 2013 and features the vocals of Kilo Kish; I really like the bass in this, a kind of fuzzy-synth you would get as a preset on your first keyboard. Almost talking in a hushed conversation, Chet wearly slurring his words and Kilo whispering innocently, this song is about obsession and loneliness. The song “To Me” is a song I think most people can relate to, it is addressed to Chet himself, questioning, “What is he doing? Is he doing the right thing? Going down the right route?” And I think it can correlate with many different aspects of life; relationships, your career, your life’s path.
The second half of the album starts with “Blush” which sounds a lot like like James Vincent McMorrow with a chilled drumbeat, and this is probably the highpoint of the record, with lots of experimentation and extrapolation from Faker’s regular sound. A more tropical affair comes in “1998”; vocal samples, warm synths and Balearic inspired piano makes this a most buoyant, pop-oriented song on the album. A simple guitar lick features in “Cigarettes & Loneliness: that is looped over slumberous electronic beats, whilst “Lesson In Patience” is the only instrumental on the album, and has something kind of bohemian jazz cafe about it with its saxophone and Rhodes synth taking centre stage. Last song on the album is the happily-titled “Dead Body” in which minimalist beats and reverb drenched vocals meter into a slow-burning R&B torch song, and a great closer to the album.
Built On Glass starts off as soul-infused electronica then turns into a downbeat summer vibes album, and I think I prefer the latter approach. The album feels like a good starting point in Faker’s career, the songs fit together really well and Faker definitely has a talent for creating catchy hooks and choruses. A debut album that, whilst not a defining statement, is still definitely worth checking out.