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"There is no concept", dance: Welcome to the sad party of Lake Bohbot

A decade after "School of Music," Lake Bohbot presents a catchy and well-produced debut album, but one that is far from showing what it has to offer in a particularly saturated scene.

Alon Eder's new and a band full of great hymns, but at the moment we expected this band to move up to another league.

Nadav Menuhin

11/03/2022

Friday, 11 March 2022, 10:00 Updated: 10:17

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Lake Bohbot - no concept

It has been about ten years since Lake Bohbot broke into our lives in the TV competition "School of Music", and since then, presumably, the curriculum has been updated: Israeli pop has changed beyond recognition, hip hop has regained its own place, and new forces in all genres have replaced singers who dominated the summit. Decades.

During these years Bohbot made her first attempts to break out as a singer in her own right, enjoying several worlds - with one leg in the new pop, and a second leg in the curls.

It can be said, in a rough generalization, that Bohbot grew up as a musician in the shadow of two other singers who marked her way: on the one hand Noa Kirl, who like Bohbot broke out as a girl and became a star among children;

And from the other side - Eden Ben Zaken, who through charisma and a sense of humor conquered the pinnacle of oriental music, and in the past year has also led the electronic wave of the genre with "Moabat".

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And now, in parallel with his enlistment in the army, Bohbot is releasing a debut album, which is located somewhere in the middle of the road between the two singers above - and without the hits she has released so far.

The ironic name is "No Concept", but the album actually has a distinct concept: it's a sad party - mostly rhythmic songs about partings and exes, and with touches of ripples on an electronic substrate.

Some of the significant forces currently working in local pop have been recruited for the mission, from Maron Bitton, Itai Shimoni and Jordi to Dolly and Penn, and there is even one song as a gift from teacher Moshe Peretz.

"No Concept" is catchy, meticulous and well-produced - we'll see you try to ignore the excellent rhythm of "you're not on the charts" or "basses", for example - but also quite automatic, and far from exciting.

If the songs work as individual tracks, the sequence sounds monotonous, too serious, and not original or brave enough, then why should we jump into this party?

Bohbot is a good singer, with a good sense of hits, but this album lacks a soul or humor that will present her character and what she has to offer in a full and saturated scene.

When there are so many singers around, she has to go further to prove she's here to stay.

Oak herd and band - yes yes yes yes!

In Alon Ader's terms, the four years that have passed between his previous and current original album are almost an eternity.

After all, this is an artist who releases an album almost every year, and sometimes even a few weeks after the previous release.

In fact, Alon Adar and the band's previous three albums have been released in less than two years.

Perhaps it is the corona and social distance that have knocked the continuum to a lineup based on collaboration between many friends and guests.

And behold, "Yes yes yes yes!"

- The strange name of his new album - brings him back to the arena with all the brand values, including an extensive reliance on the seventies and string arrangements that wrap rock and roll.

There are no less than 16 songs here (actually 14, since the opening and closing track are not really songs), including hospitality by Hava Alberstein, Esther Rada and Daniela Turgeman.

Opening with praise: In this album, Ader establishes his place as the one responsible for the most beautiful chants in the area, often backed by great harmonies - and in general the real heroine of the album seems to be the moving choir that accompanies songs like "Something Opens in My Heart", "Loud". "Esther in Emotions" and "In Motion in the Look."

The atmosphere of the collective is also felt in other ways: more than ever, the presence of the other members of the "band" is also felt, with Sefi Zisling and Nadav Hollander, among others, joining in the singing.

Here and there, between the personal and the private, Israel's sense of disaster at the beginning of the third decade of the millennium creeps into the songs to the point of expressing a cry of disgust.

But there is also a significant dimension of dispersal and lack of focus here.

Not only are there too many songs here, but also there seems to be no real development.

True, Herd's style and adaptations of his songs are getting better and better, but he's not really breaking new ground, treading more or less the same places he was before two albums.

In the last ten years, Herd Ben-Shel has become a beloved and esteemed figure in Israeli music, as a great promise with first receipts.

But the moment when he rises to the bigger league, through a single album that harnesses his talent for one big statement, has not yet arrived.

So you can say "yes yes yes yes!"

Is an excellent album and not good enough in that measure.

The adaptations are wonderful, but we expected more.

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