A couple of weeks ago, Crowded House released a new album, Dreamers Are Waiting, the band’s first since 2010’s Intriguer. Basic tracks were recorded in LA before the pandemic started, with the rest being finished remotely last year during the pandemic.* The album features a new line-up of the band: founding members Neil Finn and Nick Seymour (vocals/guitar and bass/vocals respectively), along with Finn’s sons Liam and Elroy (guitar/vocals/drums, and drums/vocals/guitar/keyboards) and producer Mitchell Froom (keyboards).
Neil Finn is, of course, the band’s main songwriter, but this record is notably collaborative, with only six songs being credited solely to him. Liam Finn has one sole writing credit, and the other five feature the band members writing in various combinations. With Tim Finn also co-writing one of the songs, it’s a proper family affair.
My favourite, album opener Bad Times Good, is credited to Neil, Liam and Elroy Finn and Nick Seymour. That’s interesting, as there are elements here that feel new to the band’s music and two credited songwriters who’ve not written for the band before. I’ve not been able to find any articles or interviews that shed light on who was responsible for which parts, so at this stage we can but speculate on who contributed what, but it’s still worth having a poke around under the bonnet, so to speak, to see what makes the song go.
First up, it begins in 5/4 time. The chords are (essentially) F and G, with three beats on the F and two on G, but the voicings on acoustic guitar are extended to something that sounds closer to Fmaj7sus2 and G6, with a single note melody line on electric guitar that bubbles away throughout the verse, pattering toms (sounding as if they’re being played with mallets), and touches of keys and piano from Froom.
Frankly, this is not how you write a song if you’re going for mainstream radio play in 2021. The non-standard time signature means that the melody feels weightless and strange the first few times you hear it; emphases seem to be in strange places, and there’s an unresolved quality to it. The extended chords add to the dreamy atmosphere.
Eventually we move to an unstable-sounding E7 before shifting to C (perhaps revealing that we’ve been in C all along, and F and G are the IV and V chords, with E7 as a substitute for Em) and waltz time for the chorus. Still, though, the melody seems to be playing tricks. We’ve just established our key and a stable-feeling rhythm, but Finn answers the short line “Before we choose a path” with a much longer one “(Let’s spend the night at Los Campeneros, please” – a metrical pattern that doesn’t recur outside this line, with a rhyme that isn’t answered at the end of the chorus. The melody is gorgeous, but in a evanescent kind of way. It feels like it might disappear, or slide out of your hands if you try to grab it.
Via another unstable-sounding chord, this time a D major, we go back into the verse, which mirrors the first in form. The next time the chorus comes round, though, it will be extended and get really cool harmonically:
E7 | C | A7 | Dm | E7 | C | D | Dm | Em | Am | A | A7
These are the type of “songwriter’s” chords that anyone who learned guitar by playing Beatles songs will recognise. E7 and A7 as substitute iii and vi chords in the key of C crop up in numerous Lennon and McCartney songs, as well as in those by their conscious inheritors: the likes of Alex Chilton, Aimee Mann, Elliott Smith, and Neil Finn himself. What I particularly like, though, is the emotional journey you get taken on by the shifts from major to parallel minor, and minor to parallel major. Everytime you think you know where you stand harmonically, the ground shifts beneath your feet.
Major/minor games continue in the middle eight, with its twice-repeated Dm | E7 | C | D sequence. This is the section of the song that will sound most like Crowded House to the majority of listeners, with Finn singing up in his Not the Girl You Think You Are range (that is, his most Lennon-esque range), while the close harmony vocals take full advantage of the possibilties inherent in that D to Dm change halfway through the sequence.
It’s lovely, but the band don’t overplay it. It’s over before it outstays its welcome, and is genuinely only eight bars long (not all middle eights are). From there, it’s back into the verse, and a slow, atmospheric winding down of the song.
5/4 time signature apart, all the elements of the song – the clever chord sequences, the unshowy but intelligently written lyrics, the dreamy atmosphere – are frequently present in Neil Finn’s songwriting, whether for his main band, solo albums or side projects. But still, the song does feel like a subtle evolution for the band, and the shared writing credits may have something to do with it. The rest of the album is good too, if perhaps not quite at the level of Bad Times Good. Some of the more uptempo songs remind me a little of the Go Betweens, while the gentle, predominantly acoustic Show Me the Way (not a Peter Frampton cover) and Too Good for this World (co-written by Neil and Tim Finn) are both lovely.
*In all probability, the band always intended to work this way. A two-part tracking process – full-band basic tracks being recorded in a studio, overdubs recorded remotely by band members using home-recording equipment – is how most rock, indie and singer-songwriter records that feature live drums are recorded these days. Much cheaper than doing the whole thing in the studio.