DG|DA is a unique project of electronica, guitar, and voice created by David Gooday (Nitzer Ebb/Stark) and David Arscott (Rubber Soul/ Eighties Archive Podcast). David A is also ex-frontman of the The White Gospel. The duo recently dropped their first album together, ADHD.
Andy Mckay
The reviewer is a lifelong prisoner of music and is one of Chelmsford’s old guard, having been in The Prodigal Sons, Apple Creation and The White Gospel. Currently with post-punk gaze band, Snakes, he continues to obsess and enthuse over music, film and writing. Snakes’ latest lp, Expo, is out now.
A colloboration across styles?
It’s an interesting collaboration. Gooday is known for his work in the EBM/electronica sphere. Arscott’s oeuvre has always been rooted in classic English song writing, a nod to the diversity of 80s/90s pop and indie, with healthy doses of soul and funk thrown in. He also has an impressive and fluid voice of some range.
ADHD
As you may know, ADHD, or attention deficit hyperactivity disorder to give it its full title, is a neurodevelopmental disorder characterised by symptoms of inattention, hyperactivity, impulsivity, and emotional dysregulation. As a theme for the travails of today’s world, there is an argument that mankind is currently collectively suffering in varying degrees. But that’s for others more qualified than me to discuss. We’re here for the music.
DG|DA debut LP
Anticipation of the album has been high, given the stature of the two gents concerned within the musical scene. Is it a case of two worlds colliding or more a case of a stylistic entente cordiale between different musical approaches? The two Davids have a wealth of musical knowledge and overlapping influences and reference points. So strap in, let’s give this ‘collection of pieces about now’ a go.
The album starts with ‘Dive’ a cinematic groove, which brings to mind Depeche among its influences. It is a good introduction to the DG|DA sound.
‘Attention’ follows, a bit of a Massive Attack vibe to my ears as a good blend of genre mashing lays a firm foundation on which a great vocal delivers some on-point social commentary.
Other highlights include ‘Spies’ with its jazz-tinged chord structures and clever textural and tonal composition.
‘Confused World’ is in my opinion the album’s weakest track as it sounds like The White Gospel trying to graft on some electronic backing and not quite hitting the mark.
However, ‘Within’ features a lovely vocal that redeems things completely. Other stand out tracks, ‘Heaven’s Child’ and ‘Everything’, feature brilliant soundscapes and production. The latter also delivering a slightly different vocal vibe, which is quite superb.
Final thoughts
So, much to enjoy then, with this first collection from the two Davids. One suspects, this is a partnership that could realise greater highs as it develops. There is a suspicion that David A should trust himself to operate more outside of his comfort zone as the results on show here when he does are extremely good.
Ultimately, it’s great to have David A back and involved in making music again. Especially with David G whose mastery of his art is again ably on display here. I’m really looking forward to what comes next with these two. Particularly, how the tracks translate in the live setting. Check it out – in this context a little ADHD in your life is no bad thing!
And as luck would have it, you’ll be able to check out DG|DA in the flesh when the duo supports Lorelle Meets The Obsolete at Chelmsford’s Hot Box on 15 May. Make sure to nab your tickets here.
