Most recent album out from Blume, Days Go Slowly, adds consistently to the three-EP discography as a testament to their clearly defined style. However, the trueness of one’s style can prove to be a little dangerous, especially if this specific style is so heavily influenced by another unique sounding artist.
Any slightly ‘gothically’ inclined person or avid 80s and 90s music fan will immediately point out how heavily inspired by The Cure almost every track by Blume is. It’s so impossibly hard not to notice. Almost everything, drum tempos, and beats, clean echoing guitar, synths, melancholy melodies, sound like a never-ending homage to The Cure. A few moments can be noticed to have a totally new style that doesn’t seem like it’s attached to The Cure’s hip. These moments, such as vocal intonation and effect, and the opening tune from this record “Dawn,” (which has the strangest but yet calming museum music feel to it) come and go almost too quickly for anyone to notice. The meat of the record is almost too heavily inspired by another band. This does not mean were looking at a bad piece of art; but unfortunately, there is a crucial element of novelty we are missing to be remembered as a unique artist, and I am afraid we are either experiencing Blume shoot themselves in the foot or a whole corner of life that has never even heard of The Cure and somehow has ended up as a reincarnation of the same sound.
Blume is a solo artist based in Edmonton, but what is more painful to realize is that there is a more popular band with the same name, not from Canada. Now we can all argue over band/artist names, but when trying to fight confusion, there is little to be said about choosing a name that already exists, whilst offering music that is almost identical to a whole other artist. Particularly speaking, the attention to this kind of detail remains quite essential, if one is to angle themselves to move forward in the music industry. This idea falls apart if the intention of a musical project is purely to have fun with no specific goal in mind, but this tends to become a finicky scenario for everyone else involved. Lacking drive and intention is a complicated thing to deal with because most humans feel this as an innate necessity in the meaning of life.
I would like to think that even with so much influence, and such strong feelings that probably every musical artist has lived through, we can strive to bring our own selves to the table. Our own psyches have so much to offer, why cover it up with things that already have made their place in the universe? It seems as if the lines between worth-while actions, and doing something because you have to do something have become blurred in the pursuit of what could have been something much more soul-opening.
Written by Talia Plante
*edited by Danielle Kenedy