A “sophomore slump” isn’t just a catchy phrase that we pop-glib psycho-babble writers like to use to be witty. It’s a phenomenon that happens all the time, especially when your debut (whether it be TV, film or music) is so successful. Sadly, there’s nowhere to go but down.

This is why comedic geniuses like Ricky Gervais and Stephen Merchant, who were responsible for the cringeworthy comedies The Office and Extras, bowed out after two seasons. They simply didn’t want to overstay their welcome with audiences and decided to cut the cord before critics could tear them apart.

The outcome? Departing before they peaked in order to maintain their status. It’s like when celebrities die young — they’ll always be remembered as good-looking stars in their prime instead of us watching them grow old and commenting on their botched plastic surgeries. Or wondering whether Brad Pitt will age and get the same weathered wrinkles as Robert Redford, lines that are so deep I could lose my change in them. You catch my drift.

I feared this utterly disappointing-but-true phenomenon would raise its ugly head again when I previewed the anticipated second season of my beloved show, the Emmy-nominated HBO comedy Flight of the Conchords. You see, it was an absolutely agonizing wait for this season to arrive, since Season 1 ended a year and a half ago. Especially after the show came out of nowhere and caught on like wildfire with fans.

Not only were the boys the biggest buzz of the 2007-08 season – seen on magazine covers, and nominated for Emmys and a Grammy for their Sub Pop-released EP The Distant Future – but they were also touring music festivals performing their parody act. Busy dudes. No wonder it took so long to come up with material for the second season.

For those who aren’t familiar with the show, here’s a little breakdown. The musical parody comedy starring real-life New Zealand musicians/comedians Jemaine Clement and Bret McKenzie living in New York City tells the story of ... well ... two struggling New Zealand musicians of the same names trying to make it in New York City with the help of their hapless manager — and scene-stealer — Murray (Rhys Darby), and super-funny super-fan Mel (Kristen Schaal).

Somehow, these guys have mastered the art of making everything they say or sing sound hilarious and earnest. It could be their deadpan delivery or their gloomy accents, but they’ll have you chuckling in minutes; seconds, even. The success of the show is primarily drawn from the music-video parodies they break out in every episode, usually playing off a genre like reggae or glam-rock for our viewing pleasure.

Here, take a gander at the fourth most popular Kiwi folk-singing duo’s style and then try to tell me you’re not crushing on them in minutes.

“It’s Business Time”

 

"Hiphopopotamus vs. Rhymenoceros"


Apparently the delay for the return was primarily due to the 2007 writers’ strike, but also because of the comedy team’s hindrance in developing new material, especially the music. Nonetheless, the return of my boyfriends was an event filled with promise and anticipation in my eyes and unfortunately after viewing the first episode, my fears of the sophomore slump were ringing true mainly because of the lack of what drew me in in the first place: Their music.

In the first episode, the story picks up right where we left off in Season 1. The boys are in Murray’s office telling him he’s fired after he spent too much time with his platinum-selling group Crazy Dogggz (formed from Bret and Jemaine’s castaways played by Todd Barry and Demetri Martin). Murray then breaks into an Andrew Lloyd Webber/Il Divo-like operatic solo performance about rejection.

While it was a treat to see Murray get the solo screen time he deserves, it wasn’t exactly the right musical foot to start the season off on. The only other song they sing during this episode is during the ending credits. Wha? That’s definitely not a good sign. Fans want Bret and Jemaine to be belting out their inappropriate ditties about “the most beautiful girl ... in the room” or how they will “double team you ... if that’s what you’re into”. The funny was at a low.

Meanwhile, the plot thickens and we get a chance to see what the Conchords can do sans a manager and it turns out, a lot. They manage to seal a deal with an advertising company to write a jingle for a new female-only toothpaste, Femident. We catch glimpses of the Conchords’ signature comedy style when they try to write the jingle and figure out what women want. Bret and Jemaine argue about whether weaving is a female or a male hobby. Cue to Bret’s loom and his woven pants. Apparently, his father is not only a sheep lawyer but weaves at night as well.

The best Murray scene:
Murray: R. Kelly wants to sing on your next song.
Jemaine: What? Are you serious?
Murray: Yup. Shall I find out who he is?

It hurts me to say that this first episode missed the mark in trying to recapture what made the show so successful last season. If they had put this Murray-centric episode in the middle of the last season, I would have been all for it. Usually the show is great at giving outsider characters lots of face time, but even their obsessed stalker Mel and arrogant friend Dave (Arj Barker) seemed like cameos in this episode. Something was definitely missing. Maybe HBO producers tried “something new” with this return, maybe their sudden fame and success debilitated their humour, or perhaps my expectations were set too high.

But hang in there Conchords fans because if this return episode disappoints you the way it did me, the second episode will surely appease. Think a song about male prostitution called “Sugar Lumps”. ‘Nuff said. Goodbye, sophomore slump.

The second season of Flight of the Conchords returns Jan. 18 at 10 p.m. ET/PT on HBO Canada. 

Are you a Conchords fan? Any thoughts or questions? Email me at jessica.russell@yahoo.ca

 

JESSICA’S JUKEBOX: LOST ALBUMS OF 2008 PART 2
Here are a few more choice albums that escaped my radar in 2008


Jay Reatard - Matador Singles ’08 (Matador)
Punk’s not dead ... thanks to Jay Reatard’s constant output of 7-inch singles in 2008. Reatard’s enthusiastic approach to his back-to-basics songs is so charming it refreshes the old guitar/bass/drum punk territory kids have been mining for 30 years. If you’re getting bored dancing to audio-tuned, over-produced beats, this collection of super-fun, power-pop, lo-fi punk singles will get you going like its 1978.    
Recommended if you dig ... The Ramones or Generation X.
Black Mountain - In The Future (Scratch/Jagjaguwar)
If you’ve ever watched films like Almost Famous or Dazed and Confused and been jealous of your parents’ music, you can take comfort in Black Mountain. These Vancouver natives are blowing minds with a psychedelic rock sound they make their own and sound just as skilled as their ’60s influences (would make great Guitar Hero riffs). In The Future is a record your ears will enjoy stretching out and get lost in.       
Recommended if you dig ... The Rolling Stones or Rush.
Valery Gore – Avalanche to Wandering Bear (Do Right!)
Toronto jazz pianist Valery Gore takes an unconventional approach to her captivating melodies on this sophomore effort. Like singers before her, such as Jolie Holland and Regina Spektor, Gore’s vintage unique style of warbling, slurring and hiccuping her words along with her impressive jazz-fused arrangements on this self-produced album makes her a rarity these days and an absolute joy to listen to.
Recommended if you dig ... Feist.
Brian Borcherdt – Coyotes (Hand Drawn Dracula)
Between touring with Martha Wainwright and the much-deserved critical success of his band Holy F*ck, singer Brian Borcherdt somehow managed to find time in 2008 to put out this splendid little ditty of a record. Here, you’ll find a complete opposite Borcherdt than the one you see bouncing around beats in Holy F*ck. Instead it’s a stripped-down acoustic guitar album that shows off his softer side as a songwriter. It’s a harsh but unhurried album that will sweep you away.
Recommended if you dig ... Hayden.
Dr. Dog – Fate (Park the Van)
This easygoing record from Philadelphia outfit Dr. Dog is a late bloomer for me. But albums that take a few listens to grow on you always end up sticking around in your collection to the bitter end, and this one has carved a niche on my shelf. This woozy, mid-afternoon haze of a record sounds like it could have come from ‘70s FM radio with Brian Wilson melodies and bluesy, groovy piano hooks like that of The Band.
Recommended if you dig ... Wilco.

 

Jessica’s musical nerdiness started at a very young age thanks to Jem and the Holograms, CFNY’s Free At Last compilations and an early introduction to Nirvana. She has since developed a penchant for effeminate indie rock, soul/mod revivalists, Scandinavian singers and old school hip-hop.

After a stint as a music writer at Toronto’s acclaimed NOW magazine, Jessica now aims to make the couch potatoes of the world a little more music savvy in her column Telly Tunes.