Dutch Singer Mark Schraven, (The Mark) Releases New Music
Relationships have undergone so many changes in the last few years. In a way, they feel more disposable than they’ve ever been with the advent of the internet. It’s very easy to fall into the semi cycle of disposable flings, wanting the feeling of understanding and true affection, but maybe getting into something that seems like what you want, but maybe has more nefarious underpinnings than you might have thought initially. Dutch singer Mark Schraven, aka the Mark, has created one of the more complex rock indie tracks of recent memory with his single “Louisiana Voodoo” from his album Floating Downwards.
Taking major influence from songs of the 70s and 60s, with a rich tapestry of sounds backed by an impeccable production thanks to engineer and Grammy winner Darcy Proper, Schraven taps into the fears many feels, but certainly, one that doesn’t get as much limelight in male artists, let alone older ones. When I first listened to the track, I was relatively lukewarm for about the first half. The lyrics are purposefully expressive and imaginative, but maybe less direct than what I’d initially liked given the direction of the song, but as it went on and the true power of the instrumentation thanks to the incredible guitar work by the late Tony Joe White really began to shine I was also taken aback by how incredibly catchy the chorus is. It truly stuck with me, and in time it forced me to reflect on some previous relationships I’ve been in. A long time ago I was told by an ex I’d been with for many years that she “truly loved me the same level that I loved her”.
It was a statement that caught me off guard when I was younger because I think many of us believe the love between two people is at an immediate even scale, that the other person must feel just like we do. When inf act we’re often blind or simply too scared to know what the other person is feeling. Schraven takes these feelings that are insecurities we don’t want to talk about often and mines it for musical gold. The second half of the single as it escalates puts a major emphasis on the “Dangerous” elements of the song, and the weight placed on it only gets stronger as the song builds and builds. There’s almost a lack of a resolution because it’s ambiguous whether or not Schraven or the character the song is spoken from has been fully absorbed by a “love” that might not even be that, to begin with.
I won’t lie, it’s kind of a bummer of a song in some respect, and that nature might be a little harsh for some looking for a bit more comfort during these turbulent times. I do think for plenty, however, including myself, it could also be a cathartic release for many who are either trapped in something or something you’re ready to move on from. I certainly know it was for me, and sometimes breaking the spell is important. Schraven and co should be proud of what they’ve crafted.