Fog, the project of Minneapolis man Andrew Broder, returns to recording after an entire decade away. Sincere songs about family and work, performed over bouncy electronic pop productions. For Good is a very personal collection with a lithe modern feel: worth the 10 year wait. On Totally Gross National Product.
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Having slipped off into worlds unseen for a good ten years, we’d all but forgotten that we liked Andrew Broder, whose forlorn electronic pop fragments can often cause eye condensation. ‘For Good’ begins on a lovely piano melody that ever so sightly erupts before the shifting medley of beats and obscured harmonies manifests a chaos reminiscent of inner turmoil. It’s gorgeous and soul-sucking music, and it sets a good precedent for what you’re gonna go through in ‘For Good’.
Fret not, though: Broder’s musical fragility stretches into some properly groovy songs. “Kid Kuma” has a bouncy bassline that sounds like it’s tracing pre-existing dance moves, and Broder hums an indelible, rollicking melody over top. A scarred beat, vocal snippets and looming chords a la Sufjan’s “I Walked” move “Cory” towards an almost propulsive vibe -- they’re supplemented by a momentary bass slap that could well exist on one of Blood Orange’s records. At times, it feels like Broder’s setting his bass off against those glorious, hunched piano chords at the record’s epicentre, as if embracing dance music and inviting it into a kitchen where tea’s ready.
This is a lovely record, but one that you have to tinker with to truly love: a lot of these songs will sound disguised and unsoldered at first, searching their way towards the moments that make them sweet. Listen to “Sister Still” and you’ll see: Broder has to pick up his scattered sounds before he can put them back together.
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