While bearded men with extravagant nerd-glasses and dirty flannel shirts claim their reign over the world of depressive folk- and songwriters with topics of love or freedom, Fink manages to triumph sensually and minimanistically. The release at Ninja Tune seems to symptomatic for Fin Greenall’s career, who switched sides from being an electronic Club-DJ to acoustic and being the souly and slightly raspy voiced head hiding behind the name of Fink. The dramaturgy designed by Greenall together with Tim Thornton and Guy Whittaker is comparable to felicitous and gloomy minimal-sets that have a similar positive energy and passion as the ten songs recorded by Billy Bush. They seem to spring from an inner contentment which most probably didn’t derive from Greenall’s productions for Amy Winehouse or from his songwriting for John Legend and others. Fink arise from a magical and exhilaratingly different kind of singer-songwriter-sphere, reminding the listener more of Trip-Hop or Dubstep than of bearded self-fulfillment and woebegone sentiments. It’s a difference that couldn’t be more obvious. If it needs to be darkness, it must be perfect gloom: »Perfect Darkness is all that I can see.« Eventually, the questioning way through life via »Yesterday was hard for all of us« ends up in light, the perfect darkness is pervaded by a Berlin Sunrise. Very out of character, Fink finally open their eyes for the sun and see the future in the present.
Perfect Darkness
