Har Mar Superstar - TheHandler

Sat 23rd Oct, 2004 in Music Reviews

This world divides into two kinds of people: those who love Har Mar Superstar and those who loathe him. (OK – so there’s also another group; the ‘who the hell is Har Mar Superstar?’ group, but I tend to forget they exist for the most part). The artist formerly known as Sean Tillman but now known as Mr. Superstar is undeniably famous, particularly in the UK, but for more than just his tunes. Albums Har Mar Superstar (2000) and You Can Feel Me (2002) were remotely successful, but Har Mar has been the hottest indie-rock handbag for a couple of years now; hosting a series of booze-fuelled DJ parties in Ibiza, writing a column for NME where he wrote about everything but his music, filming a series of ads for Vladamir Vodka and singing with Kelly Osbourne.

Of course, up until now, Har Mar albums have never really been that good. His aforementioned breakthrough album You Can Feel Me had a couple of sublime singles (Power Lunch and EZ Pass), some very frightening photos of Mr. Superstar wearing scant more than pink underwear – and not much else. Still, there he was, hanging out with the Yeah Yeah Yeahs (frontwoman Karen O guests on The Handler’s Cut Me Up – YYYs guitarist Nick Zimmer also makes an appearance), and throwing a hissy fit during the Melbourne leg of Livid 2003 when a microphone wouldn’t work.

Up until now, Har Mar’s music has generally been used to create a background mood setter for insert name of latest unequivocally trendy club here while people sit around reading Vice magazine. Too slow to dance to (unlike the music of Spod), yet too quirky to be taken seriously (at least, seriously enough to devote your undivided attention to an entire album’s worth), Har Mar’s true shtick is his live show, where he prowls around the stage, pouring beer on his head and possessing the heartthrob potential of any rock star you care to name (judging from the hysterical reaction he seems to garner, at least).

But of course, an entertaining live show won’t necessarily sell you records, and it’s apparent that Har Mar has pulled out all guns possible for this album, making it the most musically diverse and complex Har Mar Superstar album to date. That’s a very good thing.

The Handler begins with the man being just as self-reflexive as when we last left him, with opening track Transit featuring a bunch of girls (no doubt the ‘hotties’ he gives props to in DUI) calling out “Har Mar is so sexy, he gets all the ladies, I want him to touch me, ‘cause I wanna have his babies.” Stupid? Yes. Fun? Hell, yeah.

First single DUI – short for “dialing under the influence”, something everyone has done at some point or another – put those mobile phones away, kids – is a three-minute blast of Beach Boy-esque falsetto harmonies and breezy guitars, making it perfect for driving down to the beach and having a keg party (if you’ve got a different way of pretending you’re in The O.C., let me know).

The production on The Handler is as slick as you’d expect from any world-class R&B act, and the Timbaland-esque beats are more rapid fire than they’ve ever been on tracks like Save The Strip, which features a breakdown in the middle which sounds like Eminem’s Superman. It’s fast, funny, funky, and one of the best things Har Mar’s ever done. That track aside, the rest of the album gravitates towards 1980’s style disco floor-fillers. Body Request sounds like a track Michael Jackson never got around to recording for Thriller. The aforementioned Cut Me Up features Karen O’s distinctive vocals, and a electro-clash style chorus to die for.

The thing that’s always appealed to me most about Har Mar is his vocal ability. Say whatever you want about his one-man-sex-disco live show – but just listen to a track like Brand New Day from his 2000 Kill Rock Stars debut and just try to tell me the man doesn’t possess talent. And his voice is used to its potential on The Handler, with both O and Sugar Pie as close to straight-up, serious ballads as we’ll ever get from Har Mar. The latter is a breezy swinging track, with sort of laid-back crooned vocals that could see it become a commercial radio hit.

Back The Camel Up is an obvious single – all massive drum beats, a Middle Eastern riff, breathy Holly Valance vocals which would make Lyn Scully shake her head in disapproval, and Har Mar shouting “all those panties you’ve been throwing on stage.. I still got ‘em.” The track will be arriving to a club near you soon.

With The Handler, Har Mar has gone to some lengths to try to drop the ‘novelty’ stigma that he’s been stuck with for his entire career, and made some ground. It’s diverse, cohesive, simultaneously heavy and summery and shows off more of Har Mar’s talent than we’ve previously been shown. The Handler is Har Mar Superstar’s Sgt. Peppers. Of course, you should already know whether you like Har Mar or not – and if you do, this will be your 2005 summer soundtrack of choice, forever associated with hilarious anecdotes which won’t mean anything to anyone except for a small group of friends. Can you really ask for anything more from an album?