Album Review: Four Letter Word by Gram – A Sonic Journey Through Pop, Alternative, and Rock
Released in 2008 under Torntable Records, Four Letter Word by Dutch artist Gram is an eclectic mix of genres that feels like a musical kaleidoscope. This album doesn’t just stick to one lane—it swerves between pop hooks, alternative experimentation, and rock grit with ease. And while the credits list reads like a mini orchestra (accordion? theremin? trombone?!), it all somehow comes together into something cohesive yet unpredictable.
The Netherlands-based project has a quirky charm that’s hard to pin down, but two tracks stand out as particularly memorable: “Dynamite Is A Girl’s Best Friend” and “Envy Eats Everything.” Let me tell ya why these stuck with me.
First up, “Dynamite Is A Girl’s Best Friend.” It’s got this punchy energy that sneaks up on you—like when someone tells a joke so dry you don’t realize you’re laughing until five seconds later. The synth work from Rutger Hoedemaekers gives it a retro vibe without being cheesy, while Gram’s vocals float above the chaos like they own the place. There’s also this unexpected theremin solo by Wilco Botermans that adds a layer of weirdness I didn’t know I needed. Honestly, if dynamite were my best friend, I’d probably feel about as conflicted as listening to this song does—it’s fun, explosive, and slightly dangerous.
Then there’s “Envy Eats Everything,” which hits different. This track leans more into the alternative side of things, with cello contributions from Jan Bastiaan Neven adding a haunting depth. The lyrics are sharp enough to cut glass, and the percussion by Stoffel Verlackt keeps everything grounded even as the song spirals into emotional territory. It’s one of those tunes where you think, “Oh, I’m fine,” then suddenly you’re staring out a rainy window wondering how life got so complicated. You know what I mean?
What makes Four Letter Word special isn’t just its genre-blurring sound—it’s the way every instrument, voice, and note seems intentional. From Jochem Klijnman’s grand piano on select tracks to Jen Ray’s striking artwork, no detail feels overlooked. Even the mastering by Simon Davey gives the whole thing a polished sheen without losing its raw edge.
But here’s the kicker: for all its polish and ambition, the album occasionally trips over itself. Some songs blend together too seamlessly, making it tricky to distinguish between them at first listen. Still, maybe that’s part of the charm—a bit messy, a lot bold, and unapologetically human.
As a final thought, I’ll leave you with this: Listening to Four Letter Word feels like wandering through Amsterdam itself—chaotic yet beautiful, full of surprises around every corner. Just don’t forget your umbrella; it might rain feelings.
