People struggle to shove The Dare into one box.
He’s bringing back straight boy swag. He’s an LCD Soundsystem wannabe. He’s the new face of New York. He’s sexy, he’s ugly, he’s a nerd, he’s a genius.
The Dare released his first LP, “What’s Wrong with New York?” on Sept. 6. The project features a compilation of thumping beats and suggestive lyrics perfect for a NYC club.
You may have seen him in his thin black tie and slim fitted suit clutching a cigarette and flicking a sweaty Pioneer board behind his DJ pulpit. If you have seen indie sleaze resurrector Harrison Patrick Smith, currently known by stagename The Dare, then you can recognise his undeniable appeal.
In 2022, The Dare released his debut single, “Girls,” which was claimed to be “a rejection of the last five years of music.”
What’s wrong with the last five years of music? It’s all just too serious, according to The Dare, who begs to bring back ridiculous lyrics and songs that make you jump. This has clearly manifested in the 10 tracks of his recent release.
“Girls” is undoubtedly a masterpiece. This is established immediately with dirty jabbing synths and a moaning cry from Smith. The opening line, “I like the girls who do drugs,” is delivered in this perfectly bratty aggressive tone.
Every lyric in “Girls” is so clever and raunchy: “I like girls who pregnant / Girls who give it up for Lent / Girls who so f*****’ kinky that they’re bent.”
The Dare sounds utterly conceited in this track. He’s lustful and gross. He encourages breaking the law. Still, weirdly, these salacious lyrics are empowering. He wants to have sex with every shape, size and walk of life.
“Good Time” was the second single Smith released. Similar to “Girls,” this track contains a blaring, warped synth and shouting vocals.
The chorus is addictive. The Dare brings down the volume for enticingly murmured lyrics. It’s hot. This song clearly was meant to be played for sweaty people in low lighting.
Another standout track is “All Night.” The refrain “L.A. to New York, New York to L.A”. is super fun. These chanted lyrics are accompanied by bright 80’s synth and a grungy bass line.
“You’re Invited” has an amazing pulse, perfect for a night club. The incorporation of indie rock moments, like a strumming guitar and “oohs” in the bridge, give this song an unexpected twist.
“Perfume” gets the closest to achieving the replay-ability of “Girls” and “Good Time.” It has a funky guitar riff and perfectly delivered lyrics. Still, it lacks a certain catchiness pop music needs. The guitar even becomes a little grating after a while.
These successful tracks can be contrasted by a few others that fall short, lacking the strong melodies and addictive quality of previous singles.
There is a thumping 808 that runs through this entire project like a heartbeat. Sometimes, however, this creates a sense of monotony.
Also, many of the songs fail to grow in the same way “Girls” and “Good Time” manage to. The choruses on many of these tracks don’t feel earned, with the apex usually being unnecessarily loud, lacking any clear melody. “Open Up” and “I Destroyed Disco” are unfortunately guilty of this.
“You Can Never Go Home” feels strongly grounded in its LCD Soundsystem influence. However, most folks would probably rather listen to the original.
Regardless of sonic accomplishments, it’s hard to deny the lyrical success of “What’s Wrong with New York?”
Every line flows into the next like an egotistical river: “What's a blogger to a rocker? What's a rocker to The Dare?”
Not every song on this project is a masterpiece. Still, the idea of an artist so central to pop culture loudly supporting the return of club music is immensely exciting.
The Dare’s collaboration on Charli XCX’s newest album “BRAT” is especially promising. His production on “Guess” is a standout of the summer, and the two teaming up shows music is heading in the right direction.
It will be interesting to see what the indie sleaze icon has in store. He clearly knows how to make people mosh.
