Israeli vocalist Tally Koren’s sophomore record could best be summed up as a frustrating learning curve. '72 Names' is a puzzling album that doesn’t quite know what it wants to be; it features western electronic influences, as well as a percussive, middle-eastern undercurrent. Sure, the production is absolutely meticulous (it’s co-produced by Yoad Nevo of Pet Shop Boys fame), and this record is definitely, um, varied.
Case in point: track one. 'Calling You' is possibly the blandest possible way to open the record, with its clichéd piano line and ‘sentimental’ strings. Besides, to be fair, it gives a false impression of the direction this album takes... for a while.
'Rain Drops Keep Falling' is a much more enticing listen, with an infectious chorus hook, wailing harmonies and tribal atmosphere. 'El Hayam' pushes the boat out further with Koren singing in Hebrew, and also with a lot more character it must be noted.
The fans’ chosen single, 'Beauty of the Duty', marks the peak of the album and would have been a much better song to announce the beginning of the album. The wretched 80s keyboard that dominates most the other tracks is still present, but there’s a Eurythmics vibe to proceedings. It is also notably the only song on the album that diverges slightly from the original melodic pattern and into an accomplished bridge section.
This is unfortunately where '72 Names' breaks down. 'Guagain Meets Degas' is an ill-advised venture into twee pop, and a selection of lethargic filler trails out the record in quite disappointing fashion. The terribly titled 'Music is My Life' is particular disappointment, because despite the uplifting chord sequence creating a wonderful atmosphere, the song doesn’t even attempt to reach an interesting climax – it just milks and milks with a cheesy drum line, half-attempted guitar accompaniment and the same ambient synths that plague so many songs on the album.
What is also unfortunate is that Tally Koren does have a good, strong alto voice, but by the tail-end of '72 Names' you just find it stifling, out-of-place and even irritating. And that is why this record is frustrating: the attempted fusion of Erasure-esque pop and Middle Eastern folk is a nice idea, but this attempt was not nearly as melodic or ambitious as it could have been.
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'Rain Drops Keep Falling' is a much more enticing listen, with an infectious chorus hook, wailing harmonies and tribal atmosphere. 'El Hayam' pushes the boat out further with Koren singing in Hebrew, and also with a lot more character it must be noted.
