Vocalists

This one has been long in coming….

Anyone (other than me) can carry a tune and some can even show off an amazing range in the last thirty seconds of a song, but singing is another story altogether. A few months back, a friend asked me who were my favorite female and male vocalists: who would I consider to be a great vocalist? Immediately, I started scratching my head, because I really had never thought about this in any serious way. So I started compiling a list of criteria of what would make a great vocalist – in that sort of classical sense of singing, sans the rappers, screams, sprechgesang, etc… I immediately dismissed two factors: popularity and range. Popularity, generally, is the measure of corporate sponsorship, and range only indicates what notes you can hit, but that does not indicate if the singer uses his/her voice to maximum capacity. So amongst my criteria was the ability to be emotive – can the singer make me feel? Also, does the singer sell the lyrics, making them believable? And does the singer have a distinct style?

At first I felt a bit inundated: Was I considering the entire range of singers out there? Did I forget anyone? I started asking around, trying to get people’s opinion, and it was funny how no one could agree on five; I goggled a few lists, and they could not agree with one another either. But the one common trend I found is that most of these personal and media lists were not broad in scope (and some of the people included had no business being called a great vocalist – for some, entertainer would be a better term). I started then to compile my own list (sifting through my iTunes collection and the vinyls and CDs that have yet to make their way into the external hard dive), and became frustrated once again when many of the older, classic, and foreign singers were not officially available to embed from YouTube, Vimeo, or other video sources. I did not just want to compile a list of ten female and male vocalists; I wanted to be able to give you something to listen as well. (I know that YouTube is only five years old, but I think it is time that labels and artists start making back catalogues available in this VEVO revolution.) So, instead of compiling my favorite vocalists of all time, I decided on compile my favorite five female and male vocalists who are currently active and relevant to the music scene. Relevant is always the hard part; many older bands are still releasing albums, but how influential are they? Take a band like Depeche Mode; when they release, till today, people listen, both audiences and other musicians, but countless of others do not fall into this category, no matter how much I love the new music.

I want to pay some respect to the classics, which have helped develop my ear and musical taste. Amongst these vocalists are Bobby Darin, Julie London, Peggy Lee, and Dinah Washington – four incredible vocalists whose legacies continue to influence singers today. Not limiting myself to English, I would also like to include Rocio Jurado, the singer of the Spanish Chanson, in this list of classics. Her name and voice is synonymous with traditional Spanish music, full of drama and power, it is impossible not to hang on to her every word. As for the lists that follow, these artists have either established themselves or on the road to do so if they keep their heads screwed on right. Enjoy these vocalists, for they not only prove their abilities as singers, these are artists that continue to define, challenge, and redefine trends, music, and, in some cases, what it means to be great.

Les Chanteuses

Eva Amaral (of Amaral)

The namesake of the Spanish band/duo Amaral, Eva Amaral’s voice has a little of that Rocio Jurado; emotive, dramatic, and mesmerizing. Along side Juan Aguirre, they have composed everything from traditional Latin and Spanish music, dance music, pop rock, and some cutting edge indie rock. Taking most cues from the British and Euro-indie scenes, Eva Amaral, album to album, is able to recreate her vocal style, always leaving you wondering just what will come next.

Here is a live performance of “Concorde” from Amaral’s MySpace Video Page.


Amaral: Concorde en directo.

Amaral | MySpace Music Videos

Corinne Bailey Rae

What I love most about Corinne Bailey Rae is just how hard it is to pigeonhole her as a simple soul singer. With a touch of R&B, a dash of pop, and a pinch of indie rock, she composes and performs music that carries visceral power that is universal and infectious. Her angelic, quite soft, voice wisps through songs with general ease, with each note delivering the conviction of her words.

Here is the video for “Like a Star” from her debut album, from her YouTube Channel: CorinneBaileyRae. The second video is from her recent sophomore album, “The Sea,” called “Paris Nights/New York Mornings” from her MySpace Videos page.




Paris Nights/New York Mornings

Corinne Bailey Rae | MySpace Music Videos

Natasha Khan (Bat for Lashes)

Working under the intriguing moniker Bat for Lashes, Natasha Khan (of Pashtun descent) has one of the most distinct sounds in music; combining threads of dream pop, folk, indie pop, and non-Western elements, her music is ambient, soothing, and introspective. And not just audiences have taken notice of her talent, but also peers, including Matt Bellamy (Muse) and Thom Yorke (Radiohead). Her voice is sheer drama – mirroring the mood of the songs, from anguish to despondency, the only comparison I always come back to when listening to her music is Kate Bush, and that says it all.

Here is the video for “Daniel” from Bat For Lashes MySpace Videos page.


Daniel - Bat For Lashes

Bat For Lashes | MySpace Music Videos

Annie Lennox

There should be no doubt that Annie Lennox is my favorite female vocalist of all time. From glam and punk influenced rock pop band The Tourists to the new wave of the early Eurythmics, from the Motown influenced later Eurythmics to the soul of her solo career, Annie Lennox’s contralto range has proven over and over to ooze as much drama as her ever-changing theatric image. Polymorphic in image as in genre, her voice is perhaps the most distinct female vocalist’s out there, morphing in style as needed for each individual song. And even when being ambiguous, as in “Sweet Dreams (Are Made of These),” there is always this connectivity between her singing and the audience.

The first video is The Tourists’ “I Only Want to Be With You” from the DaveStewartOfficial YouTube Channel. The second Eurythmics signature song, “Sweet Dreams (Are Made of These),” while the third is their video for “Don’t Ask Me Why” from the EurythmicsVEVO YouTube Channel. The last two from her solo career: “Precious” and the amazing The Lover Speaks’ cover “No More ‘I Love You’s’” from the AnnieLennoxVEVO Youtube Channel.

Katie Melua

The Georgian born, British raised Katie Melua has mesmerized me completely recently. I have always loved the sound of her voice, even when originally she sang, “How can you make me fall apart, then break my fall with loving lies?” (“The Closest Thing to Crazy.”) Now she takes a different approach: “I’d love to kill you with a kiss…” (I’d Love To Kill You.”) With complete control of her mezzo-soprano range, she uses the entire range of her voice from beginning to end, including live, which proves the staying power of her voice.

Here are the videos for “Closest Thing to Crazy,” “It’s Only Pain,” and “A Happy Place” (I know I recently posted this one, but it is such a great song and video) from the DramaticoMusic YouTube Channel.

Les Chanteurs

Andy Bell (of Erasure)

In this synthpop revival world, I am amazed that the names Andy Bell and Vincent Clarke, a.k.a. Erasure, have not become household names, considering how they are ripped off left and right. Clarke, the musician, is the quiet presence in the duo; Bell, however, is known for his over-the-top antics on stage, what never gets the credit is his voice. Juggling Erasure with a solo career and Djings, his multi-octave range can get guttural or sing with one of the best, most controlled falsettos, even while prancing around in a dress of the globe.

Here are Erasure’s video for “Chains of Love” and “Always” (amazing background vocals, taken out in the 2009 Mix of the song for some odd reason) from the Erasure MySpace Videos page. Also, his first solo single, “Crazy,” from his MySpace Video page.


Chains Of Love (Video)

Erasure | MySpace Music Videos


Always (Video)

Erasure | MySpace Music Videos


Crazy

Andy Bell | MySpace Music Videos

Matthew Bellamy (of Muse)

When I told a fellow Cure-head that I considered Matthew Bellamy the most talented individual in music, I almost got my head ripped off. But he is the total package: phenomenal songwriter, amazing producer, kick ass performer, talented pianist, rocking guitarist, and astounding singer. Sure the technical aspects of his singing are a bit rough around the edges, he still delivers what is needed from song to song, whether he is singing “Microcuts” or “Map of the Problematique.”

Here is a live performances of “Feeling Good” and “Time Is Running Out” and the video for “Undisclosed Desires” from the Muse MySpace Videos page.


Feeling Good [Live From Wembley Stadium]

MUSE | MySpace Music Videos


Time Is Running Out

MUSE | MySpace Music Videos


Undisclosed Desires

MUSE | MySpace Music Videos

Tom Chaplin (of Keane)

Easily this generation’s best vocalist, Tom Chaplin is simply the bee’s knees. You can tell he must have had a few lessons along the way to control is tenor to perfection, but what really comes across is the sincerity in his voice. As humble as his stage persona, his voice has that empathic quality that helps you relate to the song, regardless if he is waxing poetic or being blunt and to the point; I have caught many Keane-haters singing along to a song and hating themselves for it.

Here are the videos for “Bedshapped,” “Is it Any Wonder?” and “The Lovers are Losing” from the KeaneVEVO YouTube Channel.

Dave Gahan (of Depeche Mode)

Perhaps not the most obvious choice, Dave Gahan (pronounced GAN), has proven his chops as a singer, performer/front man, songwriter, and producer over the last thirty years. And when Depeche Mode releases, the world listens. Of the veteran bands of the British 80s, DM remains the most relevant, and perhaps the most influential (contested only by The Cure in that department). Gahan may not have the vocal range of other singers, but he delivers conviction like none other. Whether singing Vince Clarke’s, Martin Gore’s, Alan Wilder’s, or his own lyrics, he is able to suck you right into his world. From getting you ready to dance or rock, to sway to gospel or chill to lounge, Gahan has proven the versatility of his voice and is only second to Freddie Mercury as a front man.

Here are videos for “Just Can’t Get Enough,” “Never Let Me Down Again,” “It’s No Good,” and “I Feel Loved” from Depeche Mode’s MySpace Videos page. Lastly, a solo single, “Kingdom,” from the Dave Gahan MySpace Videos page.


Just Can't Get Enough

Depeche Mode | MySpace Music Videos


Never Let Me Down Again

Depeche Mode | MySpace Music Videos


It's No Good

Depeche Mode | MySpace Music Videos


Dave Gahan - Kingdom (official music video - album version)

Dave Gahan | MySpace Video

Morrissey

I enjoy this love-hate releationship with (Steven) Morrissey. Introspective, witty, intelligent, and sarcastic, whether with The Smiths or now solo, his songs will either astound you with lyrical savvy, depress the hell out of you, or make you laugh. The dramatic quality of his voice just draws you into his little narratives and vignettes. And nothing is off limits: from smoking in the hopes of an early death to psychotropic drugs, The Smiths brought sophistication to post-punk, while Morrissey continues to bring a twisted, but realistic, outlook on life.

Here is the video for “Ask” (officially The Smith’s MySpace presence, but no page, but here is the direct link). And here is the video for “Something Is Squeezing My Skull” from Morrissey’s MySpace Video page.


Ask

The Smiths | MySpace Music Videos


Morrissey -Something Is Squeezing My Skull

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Pendulum: “Immersion”

When I think of that entire range of electronic rock to synthpunk, I usually think of The Prodigy right away, but now that notion might just change. Though generally unknown in the United States, Pendulum has spend the last few years building their fan base in their native Australia and the UK, and now making their biggest splash with their third studio album, “Immersion” (21 May 2010 in Australia, 24 May 2010 in the UK, 8 June 2010 USA as an import). And I did not mean to create a false comparison between Pendulum and The Prodigy by my opening statements; they are as different as can be, but Pendulum is further evidence of the vibrant music scene in Australia.



“Watercolour” is the lead single of the album, which the video is as astonishing as the song. This is the type of song that when you listen to the adrenalin starts to pump. Next thing you know, five minutes have elapsed and you are going faster than before, whether running or driving. Though it starts out with a piano, the beat picks up within thirty seconds, and next thing you know, you have this musical orgy, with extensive use of the synthesizer, and the noticeable rhythm of the drums; it becomes an intoxicating song that you just find yourself unknowingly jamming to.

Though they merge the best aspects of electronic rock and drum and bass, the production style definitely leans towards the electronic. However, “Witchcraft” was definitely produced with more of a rock feel than anything else, giving the album more diversity in how it feels. Not a rock song by any definition of that label, it definitely incorporates some rock vocal arrangements, rhythm arrangements, and a touch of “nu metal.” Continuing that rocking feeling is “Self vs. Self,” which features Swedish metal band In Flame. Now I am not a metal head, but I will say that they have now proved themselves of being a band that isn’t only a group that could create electronic rock, but also have the chops and courage to push the envelop a bit and bend genres.

Rock influences aside, this album definitely offers up a range of electronic music that is impressive. “Immersion” has it all, from straight-out-and-out electronica to drum and bass. My advice, we should all get a bit Australian and listen to this one. (Sidenote: Liam Howlett, of The Prodigy, does make an appearance on the album.)

Track Listing:
1. Genesis
2. Salt in the Wounds
3. Watercolour
4. Set Me on Fire
5. Crush
6. Under the Waves
7. Immunize, featuring Liam Howlett
8. The Island – Pt. I (Dawn)
9. The Island – Pt. II (Dusk)
10. Comprachios
11. The Vulture
12. Witchcraft
13. Self vs. Self, featuring In Flames
14. The Fountain, featuring Steven Wilson
15. Encoder

Keep up with Pendulum at their homepage, MySpace, and Facebook.
Here is their video for “Witchcraft” from their YouTube Channel: pendulumlive.

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Katie Melua: "The House"

Guilty pleasure? Absolutely not! I have been a sucker for Katie Melua for quite some time – and of course I was a bit excited with the anticipation of the release of her fourth album, “The House” (24 May 2010 in the UK, 3 August 2010 in the USA). From her nascent days delving into emotive acoustic pop, that was heavily jazz and blues affected, she spent these and the next few years working with Mike Batt, proving that pop (in the classical sense) is far from gone. Performing her own original songs, Batt originals, and quite a few covers, including The Cure’s “Just Like Heaven,” Melua developed a strong reputation as a chanteuse, with one of this generation’s most expressive voices. Things became very interesting, though, when word spread that this time around she was not working with Batt, but instead with William Orbit. What had the potential of being the disastrous meeting of two worlds melds into an ambient but folksy/bluesy collection of music that subtly lulls away the time.



If you are expecting some radical departure in sound because William Orbit is involved, you will be sadly disappointed. Katie Melua has the reigns in her hands and obviously has determined the direction of this album; Orbit adds an ambience that has never existed on a Melua album before, while allowing her to delve into a few experiments in style, both musically and in production. He is one of those masters of details, with the ability to create a wall of sound that is either viscerally perfect or, conversely, abstract for the song (like in “God On The Drums, Devil On The Bass,” ironically co-written by Mike Batt). One thing, though, is completely constant in her music: there is this undercurrent of despondency that twists about just about everywhere. This is even reflected in her choice of cover music, this time around Bill Monroe’s “The One I Love Is Gone”: “I don’t know… I don’t know where I’ll go or what I’ll do. It makes no difference what I’d do without you.”

“I’d love to kill you with a kiss; I’d like to strike you down with bliss,” are the opening words of the album (“I’d Love To Kill You”). Very odd to kill with happiness, but before the end Melua sings, “ I love to watch you in your sleep ‘cause you don’t have power over me, and when you’re awake I’m undone, under your spell, in hell.” And there is that despondency rearing its ugly head in this acoustic, string-laden ballet. Followed by the lead single, “The Flood,” which is anything but the obvious single; slowly building, at first the song opens more as an elegy than a pop song, it breaks into a catchy, acoustic guitar pop song: “Broken people get recycled, and I hope that I will… Blame? No one is to blame, as natural as the rain that falls; here comes the flood again.” Then “A Happy Place” waltzes in, which instantly reminded me of the “Wild!” days of Erasure (I know the oddest comparison for Melua, but Orbit did remix one of their b-sides for a single off the album and was very prolific in this time period of British music, late 80s / early 90s). With that faux-bass line, the third track is the evidence that Melua is growing as an artist and willing to stretch her repertoire.

And from this point on, you are really in for an adventure: whether it is the playfully bluesy “A Moment of Madness” or the string-laden and poignant “No Fear of Heights,” Melua strings one song after the other that capture your attention and are musically, viscerally, and lyrically fodder for the imagination. Though the post-punkishly melodic “Twisted” would have been a perfect end for the album, Melua ends the album with the titular track, “The House.” This is the kind of song where Melua is at her best – regardless of the music arrangements or the sound effects, it is her voice that carries the song in every sense. The song is lyrically savvy (“In the privacy of my own room, where flowers in the wallpaper bloom…”) and full of the beautiful ambivalence and despondency that she is able to convey without gloom or doom.

The best way to describe Katie Melua’s “The House” is that it tackles all of those bleak moments of life, expected or unexpected, but put into a perspective that one can grow from. There is no wallowing, just a sense of familiarity with these themes, because we have all lived through them. Melua may not be the first to capitalize on these mundane moments of life, but she is one of the few who breathes beautiful and positive energy into them… so to end this simply, here are a few adjectives to keep in mind: introspective, poetic, sophisticated, universal, and irresistible.

Track Listing:
1. I’d Love To Kill You
2. The Flood
3. A Happy Place
4. A Moment Of Madness
5. Red Ballons
6. Tiny Alien
7. No Fear Of Heights
8. The One I Love Is Gone
9. Plague Of Love
10. God On The Drums, Devil On The Bass
11. Twisted
12. The House

Keep up with Katie Melua at her homepage, MySpace, and Facebook.

Here is her videos for “The Flood” and “A Happy Place’ from the DramaticoMusic YouTube Channel.



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The Coral: "Butterfly House"

I could easily divide my music collection into three broad categories: oldies but goodies, stuff I own, and new material. There are “classic” albums that I go back to often, like The Cure’s “Disintegration,” Annie Lennox’s “Diva,” or The Kink’s “Lola Versus Powerman and the Moneygoround, Part One.” These are the kind of albums that have formed and molded my musical tastes. Then there is the stuff I own, some old, some new, that may have been novelty, shit that friends have recommended, or material that was simply sub par. Then there is the new material that I really like. For the most part, this music is full of younger artists, usually within three albums of their career; it is not often that a veteran act makes its way to this group. Something usually happens to bands after a few years: complacency leads them to churn out the same old shit and I loose interest. So when I heard that The Coral was going to release a new album, of which the music was played lived previously, I was on the fence. I was not sure how I was going to feel about it, but definitely leaning towards “stuff I own…” I even debated with myself about getting this album or not, but “Butterfly House” (12 July 2010 in the UK, 27 July 2010 in the USA as an import) immediately jumped into my iPod as new material I love.



Recorded in part at the legendary RAK studios, The Coral sport out a sophisticated neo-psychedelia sound that does not sound dated or contrived. Apparently, they are running away as fast as they can from current trends, embracing the 60s as their model. Earlier in their career, especially at the time of their debut, there was a lot of buzz about this band – that is how I discovered them, because the buzz had them out to be the next best thing since white sliced bread. Then the growing-pains started, years of experimenting with their music and style, which alienated more and more people. The buzz finally started to die out, which as I have always said is a good thing! Finally able to compose music on their terms, and not with the expectations of what is supposed to come next, the band finally reached their fifth album, “Butterfly House.” Straight-forward, sleek, beautifully recorded… any critiques of the band seems to lull away when listening to the album. Let the buzz begin again!

The band has matured, which is the inevitable, but not always the most popular thing to do. (Nothing is more unflattering than musicians post the 30-year mark still singing as if in high school!) Opening with viscerally the most aggressive song, “More Than a Lover,” laced with beautiful acoustic strumming (something I am a sucker for), is the perfect introduction to this musical journey: amazing acoustic guitar arrangements, gorgeous layers of music, and mature lyrics: “More than a lover, don’t you know you’ll always be a good friend to me…. But what’s done is done, so I sing to you a song we left unsung.” No remorse, no regret, just the emotional distance of knowing that life moves on. The chosen lead single, “1000 Years,” with a simple but alluring guitar solo, may lack the catchiness of single trends lately, but it offers up a sincerity that is rare. My favorite track is the carnival-esque “Coney Island.” Having spent many of my childhood days there, with my cousins from Pennsylvania and brother, I always remembered it not as this jovial place, but a locale with a sad undertow. Any joy that came from the place was from our antics – of which there were many. This feeling I always got from Coney Island is captured musically to perfection.

What is the album devoid of? Indie clichés, 80s mania, or obviously made for radio music. The Coral’s “Butterfly House” is one of those sophisticated albums meant to be listened to as such. Though you would definitely get pleasure from listening to any one of these tracks, this is really a musical journey meant to be listened to from beginning to end. This is part of the reason why I refuse to extrapolate this album track-by-track; I would rather hope that you are inspired to listen to it beginning to end. Considering that this is one of those standout albums in the field of releases, it may just end up being one of your favorites.

Track Listing:
1. More Than a Lover
2. Roving Jewel
3. Walking in the Winter
4. Sandshills
5. Butterfly House
6. Green Is the Colour
7. Falling All Around You
8. Two Faces
9. She’s Coming Around
10. 1000 Years
11. Coney Island
12. North Parade
13. Into the Sun – limited edition bonus disc
14. Coming Through the Rye – limited edition bonus disc
15. Dream in August – limited edition bonus disc
16. Another Way – limited edition bonus disc
17. Circles – limited edition bonus disc

Keep up with The Coral at their homepage and MySpace.

Here is their video from “1000 Year” from the deltasonicrecords YouTube Channel.

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New Wave Videos

So… I was cleaning out some boxes the other day and came across a few mix-tapes that pushed me back twenty years in an instant. This one particular one, 120 minute TDK – my brand of choice back then – really brought back some funny memories. In a nutshell, I made the tape for a friend’s party, who when requesting that I bring music told me, “None of that depressing shit you listen to… bring some of your happy songs.” Well, I can’t say my friend got all those “happy songs,” but she did get an assortment of new wave. I wish I could get some of the other stuff that was on the tape, like Pekinska Patka, but I did manage to find most of the “popular” stuff of its day. Keeping true to my promise of coming on once in a while with some older videos, here are ten great songs: some are still breath-taking, others are even cheesier now than before, but you got to love them anyway. Enjoy!

Talk Talk’s “It’s My Life” from their MySpace Video page.


It's My Life (UK Version)

Talk Talk | MySpace Music Videos

Eurythmics’ “Love Is a Stranger” from the EurythmicsVEVO YouTube Channel.



Duran Duran’s “New Moon on Monday” from their MySpace Video page.


New Moon On Monday

DURAN DURAN | MySpace Music Videos

Men Without Hats’ “Pop Goes the World” from the MenWithoutHatsVEVO YouTube Channel.



Depeche Mode’s “A Question of Time” from their MySpace Video page.


A Question Of Time

Depeche Mode | MySpace Music Videos

Kajagoogoo’s “Too Shy” from their YouTube Channel: Kajagoogoomusic.



‘Til Tuesday’s “Voices Carry” from the TilTuesdayVEVO YouTube Channel.



New Order’s “True Faith” from their MySpace Videos page.


True Faith by New Order

new order | MySpace Music Videos

The Vapor’s “Turning Japanese” from their MySpace Videos page.


Turning Japanese

THE VAPORS | MySpace Music Videos

Information Society’s “What’s On Your Mind” from their MySpace Video page.


What's On Your Mind

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O. Children: "O. Children"

Imagine for a moment you could mix up Bauhaus, The Cure, Joy Division, and Sisters of Mercy, and throw in a smidge of a few other things including a new wave sensibility… welcome to the world of O. Children and their eponymous debut (12 July 2010). This young quartet was (seemingly) born out of the ashes of Bono Must Die (unsigned, but truly noteworthy band), and is composed of Gauthier Ajarrista (guitar), Harry James (bass), Tobias O’Kandi (vocals), and Andi Sleath (drums). Taking their name from a Nick Cave and the Bad Seeds’ songs, the band harkens back to the 80s for most of their cues, especially the original post-punk era. Though there is a bit of the shoegaze in them, they are more like Editors than The Horrors. This is not mere revival… they are not capitalizing on the past for quick-fly-by-night notoriety; instead, they are building on a tradition of music, inverting quite a bit of it inside-out, and producing something that is fresh and relevant. Straightforward music in the vein of The Cure or Joy Division, with the dramatic feel of Sisters of Mercy, the band’s new wave sensibility of producing music that is tongue-in-cheek, yet introspective, is obvious from beginning to end.



The album opens with “Malo”; it has the same affect on me as “The Killing Moon.” Though sonically they share very little in common, I understand why this is the case (and will explain below). This is a moody, broody song, with nice synth work. It is a somewhat odd start to the album, and arguably a hard song to follow, but “Dead Disco Dancer” does not let you down. This single, the second track, is somewhere between dreadfully dark and tongue-in-cheek, as it whirls through a narrative that starts, “Wake up, sunny, school is cancelled for the day… The disco dancer is dead… they found him at the track with a bullet in his head…” Eventually, they are digging up his grave, and though this sounds gory, it is actually a playful song, regardless of the lyrics. This is no easy feat to accomplish – to have music and lyrics work in tandem, though they are going in different directions – and it speaks to the songwriting chops this band has.

“Heels” follows – classically a post-punk song, circa early 1982; for those of us really familiar with this era, this song is going to pull a few of your internal strings and you are going to get stuck on it. Another gem on the album is “Ezekiel’s Son” – the darkest song on the album, it is the meeting of dream pop and new wave sonically. “Ruins” exudes ingenious new wave, while “Pray the Soul Away” sports out the most rocking guitar arrangements on the album – I am starting to want to hear this song live. The album closes with the experimental “Don’t Dig”: “Whenever I go, and my last breath is done, don’t make a fuzz…” O’Kandi sings, to the one song on the album that relies more on effects than the actual rhythm; he soon sings, “I’ll be in your head, you’ll forget I was dead.” It is the aspiring wish of all artists, to become immortal through their work… to be kept in someone’s head. And that is an apt metaphor for when you finish listening to this album; it may not haunt you in any nightmarish way, but you will not forget it anytime soon.

I need to say one more thing. If I have said this once, I have said it a thousand times: I hate when people compare the voice of one singer with another, as if sounding similar is a be all and end all to criticism – unless it is impersonation, people are born with their voices, and there is nothing that they can do about it. I can imagine everyone already oozing with lazy comparisons between O’Kandi’s voice and Ian Curtis’. O’Kandi may have a similar voice (he was born with it), but he does not just carry a tune like Curtis. (I am sure there are some that will think that was a blasphemous comment to make.) Actually, O’Kandi is singing, doing more than just carrying a tune; if anything, he is closer in style to Ian McCulloch [of Echo and the Bunnymen fame], with a much deeper voice (hence, why it has the same affect on me as “The Killing Moon.”)

Simply put: this is a good album, not your typical summer time release, and it is not going to disappoint.

Track Listing:
1. Malo
2. Dead Disco Dancer
3. Heels
4. Fault Line
5. Smile
6. Ezekiel’s Son
7. Ruins
8. Radio Waves
9. Pray the Soul Away
10. Don’t Dig

Keep up with O. Children at their MySpace, Facebook, and Twitter.

Here are their videos for “Dead Disco Dancer” and “Ruins” from their YouTube Channel: ochildrentv



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The Unravelling Answer 5 Again

I was completely excited when The Unravelling released their debut album, “13 Arcane Hymns” (link to review). From listening to the demo versions to the final product, I was blown away by the depth and beauty of the album…. Two e-mails later, and Gustavo de Beauville and Steve Moore were more than happy to answer 5, again. Everything from hookers and blow to politics get mentioned here, and just as their music, their answers are uncompromising. I hope you all enjoy, and I would like to personally thank Gus and Steve for taking the time to answer 5.

The Unravelling

1. The Unravelling did not play it safe with "13 Arcane Hymns." Though I have used the word "metal," I am not sure that does the album justice. (And I hate the "progressive" label, as I think all artists have a duty to be progressive in terms of anything artistic.) What I hear are many strains of different musical traditions, from rock to metal, from industrial to goth, coming together in various different degrees. When you started composing the album, was this the goal or is this something that happened naturally?

Gus: In terms of the music, “13 Arcane Hymns” took early shape as a maniacal one man project with the aim of creating a body of material that would be enticing enough to attract the right vocalist to complete them. Somewhat of a Venus flytrap or anglefish approach. I was going through a lot of genre experimentation at the time, so the songs reflect this period. It was very new to me because my background up to this point was metal and 90s grunge but traveling to Canada and living alone for a year made me seek out a plethora of interesting new artists. Such as Sopor Aeternus, Sophia, Arcana, Predella Avant, Dead Can Dance, Nox Arcana and Sephiroth, which really inspired me but were filtered through the lens of a "meat and potatoes" (drums, guitar, bass, vocals) musician.

Steve: To me, progressive can get to be a strange word in the context of music - it can mean wildly different things to different people. I don't even know what pure progressive rock or metal, bereft of other style interference, would sound like. I think that in the end, I just don't care enough to research it too closely. That being said, I love a lot of different music, so this kind of schizophrenia comes out in my writing that is probably unusual. I love Dead Can Dance and Dillinger Escape Plan, for example - they would normally be seen as two completely different energies, but I see them both as honest, talented artists. They're both powerful in their own way. The first priority is to write something I feel is good and that I'm inspired by, and the second priority that I try to fulfill is that I feel the work is original.

So not playing it safe was intentional and natural at the same time. We recorded and released this album in the faith and strong belief that there are still people out there who want honesty in their art and music. That is technically our market.

Gustavo de Beauville

2. Metal is one of the genres I feel is in a tragic state; it has become generic, complacent, and repetitive. I have read about the days when metal dominated the Reading Festival and find myself wishing for a metal renaissance. Why do you think this complacency has happened?

Gus: Renaissance.....Such an eloquent way to describe your dismay. It's sad but a lot of bands are a reflection of society I think. They cater to the masses to suckle at the teat of their masters. I firmly believe somewhere out there there's powerful suit-wearing, cigar toting assholes in tall buildings with gold records on their walls going, "They want to shake their asses and swig cheap booze, then give those sheep what they want. Churn that shit out ASAP. I got hookers to bang and blow to inhale." Then bands like Nickelback, State of Shock, Theory of A Deadman, Puddle of Mud, Shinedown, Hinder, Finger Eleven, Seether, Stone Sour, Hedley, Marianas Trench, and Simple Plan get a phone call.

Steve: You could say the same thing about the world I think. The complacency in metal music has probably happened due to lack of inspiration or good ideas, the desire to cater to genre regulations, the need to be part of a crowd, a lack of new learning and an over-interest in anti-religious sentiment without enough intelligent argument or political points, and a general rejection of individuality and artistic expression. I always appreciate when artists and bands dare to do something different. There's a lot of room for it in metal, but you can't be afraid of breaking the rules and leaving the genre if need be. That being said, there are some amazing bands out there today. The ones that blow you away just don't typically tend to be the ones who put themselves in a box.

Geez, that's quite the list, Gus! You forgot Justin Bieber, though it'll probably be a few years yet before he's into the hookers and blow.

Steve Moore

3. Let's continue to speak about complacency: Audiences! From relying on traditional sources for new music, especially radio, and an environment of not wanting to think or feel when listening to music, most listeners have become passive, empty receptacles, who are either scared, uninspired, or too damn lazy to scratch the surface. What would you say to them to get them to scratch the surface and listen to "13 Arcane Hymns?"

Steve: If the description in question 3 sounds like you, you should listen to “13 Arcane Hymns.” Unlike much of the music out there currently, this stuff is real - for better or worse, and that's for you to decide. It's not the feel-good album of the summer, but it offers something strong and worthwhile. If Top 40 is your thing, I wouldn't strain yourself.

Gus: That's a really tough question. I prefer to remember the days when music really inspired and almost defined who you were. Times when Phil Anselmo would rant about the 'trend being dead,' also when Kurt Cobain had to explain what the doodles on his sneakers meant. When Layne Staley had to tell people that drugs were bad and were actually killing him (RIP). When people used to hang on every obscure word from Maynard James Keenan. When Trent Reznor dropped “The Downward Spiral” onto the scene and people thought he was nuts. When “Anti Christ Superstar” came out and the video for “The Beautiful People” was so dark, twisted and innovative it was awe-inspiring. Nowadays it's about having wineries and selling overpriced merchandise. But getting back to your question, I think either it's a state of being young and impressionable and hearing some great bands or maybe the quality of music as an art form has indeed been diluted. I'm leaning towards the later.

Gustavo de Beauville

4. The images in the "Fire Breather" video, which capture a Tibetan protest, really stuck with me for quite some time. But the one thing that I started to think about is what is the role of artists in making political/social statements or allowing their music to be used in that vein. What do you guys think about the meeting of "politics" and music? Is this a responsibility of musicians?

Gus: Ok, straight off the bat, I do not mix politics with art. Yes, the world is a sordid, twisted political place, but I leave these matters to people that are more equipped to resist the machine. Steve does very well in this area and has thus far been the political figurehead for the band. I myself tend to be the wide-eyed dreamer that grasps for the invisible thread in his reclusive comfort zone. Dabbling in the unknown and mysteries of the occult interests me far greater than focusing on the misdeeds of man.

Steve: I don't mix politics and music all the time, but I do it on some tracks. I tend to talk quite often about spiritual or energetic concepts that I feel are potent in poetic form as well. Basically, I think people should be able to talk about whatever the hell they want to, and there should be no stigma attached to it. People arguing for less politics in music and movies are happy pawns. 100 indie pop songs about tube socks and ex-girlfriends and you have a problem with a song about something that actually affects our lives in a profound way? They must have a lot of trust in their politicians to want them to be the only ones to have the microphones in our society. I do not share the same general trust in politicians, so I express that from time to time. At the same time, you can only be responsible for what you project and for what you say, so all I can control is my own voice, and I monitor it fairly closely. I try to make sure what I say is really what I want to project to the world - a positive expression of empowerment.

Steve Moore

5. The natural course of music is that is it is conceived and composed, recorded, and then showcased live. How are you two going to approach the music live? What can we expect?

Gus: We have played a couple of live shows thus far and the response has been very encouraging. At this moment I am working on incorporating psychedelic visuals to our show.

Entertaining and inspiring our fans is very important to us as a unit and a trusted mentor of mine told me to "Go create the show that you want to be at" and that is what I am doing. Crafting out our own mythos and an ethereal aura for the band is my goal. See you on the other side...

Steve: We will do everything we can to push this project to new listeners, so that includes building a successful live show. The shows thus far have been great and we look forward to more. Expect something different. Rants via megaphone most definitely!

Keep up with The Unravelling at their homepage, MySpace, Facebook, and Twitter.

Here is “Where Will It End?” from their YouTube Channel: Theunravellingmusic.

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School of Seven Bells: "Disconnect from Desire"

Could I ever pass up good dream pop / shoegaze? No. Welcome to the world of School of Seven Bells [SVIIB] and their sophomore album, “Disconnect from Desire” (12 July 2010 in the UK, 13 July 2010 in the USA). This trio (Benjamin Curtis and identical twins Alejandra and Claudia Deheza) prioritizes composing music by first writing lyrics and creating music that mirrors, augments, and accompany the lyrical content. With a broad range of musical means, from guitars to savvy electronics, they are able to put out the sound of a traditional band, but consistently never rest on their laurels and instead offer up twists and twists and even more twists in the tradition of dream pop and shoegaze. And let me say right up front, what I like most about SVIIB is the fact are not content with rehashing some mythical cannon of dream pop or shoegaze, but rather pushing the envelop a bit further with flirting with synthrock and synthpop.



Not reproducing the sound of some nostalgic canon of shoegaze albums or giving into reproducing shoegaze in any traditional sense (like the revival whores are doing), SVIIB veers outwardly closer to Curve and My Bloody Valentine of “Blown a Wish” and “Soon,” while subtly sharing some aesthetics with Chapterhouse, Ride, or Slowdive. Let me explain… Outwardly, the beats definitely veer closer to something that could be danced to at times – remixes might be really nice – while they arrange and layer their music in the same traditional sense as the shoegaze classics. In terms of the electronic sounds used, there is a bit of synthpop there, and occasionally synthrock veers its head – that “rockish” sound that is purposely synthetic. So with a broader range of references than the “new-nu-gaze,” SVIIB is able to offer up a sound that is distinct from their brethrens, and in many ways much more vital, urgent, and relevant than what others are doing.

The hauntingly sweet vocal arrangements are ethereally beautiful, but continuously grounded by the (often time heavily affected) guitar arrangements. Working in tandem, the guitar and vocal arrangements help to create a warm, welcoming feeling to the songs, which is an obstacle for many electronic bands. The reality is that nothing screams synthetic like drum machines, nothing screams feigned like soulless sequencers… but as other solid electronic acts, they are savvy enough to play between the digital and analogue to create a balance that is often rare, and extremely rare in electronic shoegaze. Not that cold music is always bad (I love my darkwave), that is not what you get with “Disconnect from Desire”: this is a lusciously visceral album, which draws you in track-by-track.

Sonically, opening with an air of frivolity, lyrically the opening track, “Windstorm,” weighs in heavy from moment one: “Wind mills cut through the voids of hiding the imagine, the truth the eyes neglect to see what the heart pursues, then my heart finds a dream in me. It sees you in the untouchable; that’s not to say that I don’t feel the limitations and the dropped from the expectation, it’s not lying but the heart of creation is the only thing proven true to me.” With a bit of the post-punk in those lyrics (reminds me greatly of how “Charlotte Sometimes” flows), the band is given into a bit of stream-of-consciousness, engaging emotionally weighty topics in a serious and poetic way, and not generating prepackaged, clichéd anxiety or despair.

Songs like “Dust Devil” and “Camarilla” reflect that they band is willing and capable of thinking / composing out of the shoegaze box, really infusing synthrock and synthpop (respectively) traditions into the music. But what holds true through every track is that sonically/musically nothing is overdone. Every sound, every effect, is towards an end. And when you finally find yourself swirling into the final track, “The Wait,” SVIIB throws you their biggest twist yet: the most sedate and broodiest song on the album. Moving way closer to traditional dream pop than shoegaze, this is the most minimalist track on the album. Carried by the guitar for the most part, the electronic sounds are there for ambience, the wispy vocal arrangements sooth you, though the words and voices are full of despondency. And though a beat eventually builds up in this epic, the song ends musically much the same way it started, abruptly all but the guitar and keys dropping out.

Sophomore slump? Hell no! This album impressed me even more than their debut. School of Seven Bells’ “Disconnect from Desire” is a solid album, which will haunt your thoughts from the very first listen. So enough faffing…. check out this band and album.

Track Listing:
1. Windstorm
2. Heart Is Strange
3. Dust Devil
4. I L U
5. Babelonia
6. Joviann
7. Camarilla
8. Dial
9. Bye Bye Bye
10. The Wait

Keep up with School of Seven Bells at their homepage, MySpace, Facebook, Twitter, and their Vagrant Records page.

Here are two video clips; the first is a video from their debut album (“Alpinisms”) called “Half Asleep” from vagrantrecords YouTube Channel. The second a live performance of “Bye Bye Bye” (at Mercury Lounge, NYC, 9 June 2010) from the supmag YouTube Channel.





Here are some tour dates; refer to their MySpace or Vagrant Records page for more information

7/30: Splendour in the Grass Festival, Woodford, Australia

9/9: Brooklyn, NY USA
9/11: Cambridge, MA USA
9/12: Burlington, VT USA
9/13: Montreal, QC Canada
9/15: Toronto, ON Canada
9/15 and 9/16: Ann Arbor, MI USA
9/17: Chicago, IL USA
9/18: Madison, WI USA
9/19: Minneapolis, MN USA
9/20: Iowa City, IA USA
9/21: Omaha, NE USA
9/23: Kansas City, MO USA
9/24: Denver, CO USA
9/25: Salt Lake City, UT USA
9/26: Seattle, WA USA
9/28: Vancouver, BC Canada
9/29: Portland, OR USA
9/30: San Francisco, CA USA

10/1: Los Angeles, CA USA
10/2: Costa Mesa, CA USA
10/3: San Diego, CA USA
10/5: Tucson, AZ USA
10/6: Albuquerque, NM USA
10/8: Denton, TX USA
10/9: Austin, TX USA
10/10: Houston, TX USA
10/11: Baton Rouge, LA USA
10/12: Tallahassee, FL USA
10/14: Tampa, FL USA
10/15: Orlando, FL USA
10/16: Miami, FL USA
10/18: Atlanta, GA USA
10/19: Chapel Hill, NC USA
10/20: Baltimore, MD USA
10/21: Washington, DC USA
10/22: Philadelphia, PA USA
10/23: New York, NY USA Read more ...

I Am Kloot: "Sky at Night"

I Am Kloot, hailing from Manchester, UK, has been one of those bands that has been on my radar for quite some time, but has never stopped me in my tracks and made me really want to listen… that is, until recently – seemingly a common trend as of late. I headed over to the “Guardian” website, where the latest album has been streamed (link), and I have to say that I was more than impressed. “Sky at Night” (5 July 2010 in the UK, available in the USA as import 13 July 2010) is one of those subtle albums that really paints a picture with lyrics and creates mood with music. And perhaps, like fellow Mancunian bands Doves and Elbow, they are poised now for more recognition, but what I like about the album is that it was not composed for this end. This is music written for the sake of music… that may very well end up being a timeless jewel worth listening to again and again.



Five albums into their career, they seem to have coalesced into one of the broodiest bands out at the moment; luckily, they have not given into gloominess. Much is always made about bands that have been around for years and have not garnished the praise of the mainstream, but that is not a curse in the least. Actually, in most cases, it is welcomed, because existing in the fringes allows artists to create music that is poignant and distinct, not to mention urgent and relevant, and not part of any bandwagon. And that can be said about “Sky at Night.” This has nothing in common with the current trends, and it is evidence that many artists are not interested in making musical references to the 80s.

The album opens with “Northern Skies,” which musical intricacies are mirrored by the lyrical intricacies; it becomes quickly apparent that I Am Kloot “upped” their game for this album. But I was convinced of what a great album this was the moment I head “Fingerprints”: “If Heaven is a place upon your skin that I may have touched from without to within, then dust yourself of fingerprints and grin… and grin.” This is poetic narration at its best, set to a beautiful guitar arpeggio, the occasional piano, and moody strings. This is the kind of narrative song that really grips the attention and imagination. I will say this simply: lyrically I would rank the lyrics with some of the greats out there, like Dylan and Smith.

The most touching song on the album, the lachrymose bit of poetry, is “I Still Do”: “When I was a boy, I looked out at the sea, thought I saw you and me in the waves on a breeze… I still do, still do.” Set to an acoustic guitar, stripped down compared to the other tracks, the hope is belied by the feeling of lost and isolation that the song inspires. The ninth track, “Radiation,” is epic in proportion, with the slowest and most drawn out build-up of any song on the album. As every layer of music works it way in, the anxiety builds, but subsides when the beat finally drops. “Everything we ever thought we ever want, me and you, well it just came true,” affirms the chorus, and though the song is anything but happy-go-lucky-bubble-gum-pop, there is a definite sense that a smile is starting to build, that there might just be light at the end of the tunnel.

Granted, I Am Kloot may not have moved worlds away from what they were doing, but they did perfect it. And quite often, the journey for musicians is to reach that point of perfection. As the album closes with “Same Shoes,” and you are enjoying the jazzy feel, you really start to appreciate the subtle intricacies of “Sky at Night.” For those like me who have heard their past efforts, it may just be time to reconsider what we have thought about this band. And for those who have never heard of I Am Kloot, this is a perfect starting point. Head over to “Guardian,” check out the album, and if you are as convinced as I am, then support the band and get the album.

Track Listing:
1. Northern Skies
2. To the Brink
3. Fingerprints
4. Lately
5. I Still Do
6. The Moon Is a Blind Eye
7. Proof
8. It’s Just the Night
9. Radiation
10. Same Shoes

Keep up with I Am Kloot at their homepage, MySpace, Facebook, and Twitter.

Here is their video for “Northern Skies” from their YouTube Channel: iamklootmedia.

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Videos

Been awhile since I posted some videos…. Enjoy!

Sudden Death Over Time’s “Blue Sky Night” (not video, just audio stream – a must listen!) from their YouTube Channel: SuddenDeathOverTime1.



Devlin’s “Brainwashed” from his YouTube Channel: officialdevlin.



Two Door Cinema Club’s “Come Back Home” from their YouTube Channel: twodoorcinemaclub.



Brandon Flowers’ “Crossfire” from the BrandonFlowersVEVO YouTube Channel.



Archie Bronson Outfit’s “Hoola” from the DominoRecords YouTube Channel.



We Have Band’s “Oh!” from the naiverecords YouTube Channel.



Marina and the Diamonds: “Oh No!” from her YouTube Channel: Marianaandthediamonds.

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Streams of Whiskey Live

Now this I have sat on for too long…

3 July 2010, I headed out to Paddy Reilly’s on the corner of 2nd Avenue and 29th Street in Manhattan (519 2nd Avenue) for a show. On the invitation of a friend, co-worker, and one of the keepers of my sanity, it was set to be an evening of Celtic Punk and Irish Rock. The day started hectically, the afternoon was no better, and the evening even worse, so by ten at night, I was speeding… and I do mean speeding… to get to the gig on time… and it was most definitely worth it. Streams of Whiskey offered up two amazing sets.

So I finally got there and within moments I was with Black Stuff in one hand and my Blackberry in the other (hey… I have to take notes somehow). I was a bit disappointed by the turn out; I guess many of the townies were away for the holiday weekend – this is a cover band that you really should check out.

The problem with most cover bands – whether they are purists or not – is that it is all rote motion. And when the band concentrates on just one artist, it becomes more that rote; it becomes scary imitation without soul. But that is not the case with Streams of Whisky. You never got the feeling that you were listening to The Pogues or any other band – actually, they owned their renditions of the songs, which is very rare for a cover band. For instance, when they performed “Greenland Whale Fisheries,” one of my favorite sea shanties, I never thought of any of the other versions I knew of the song… not the Weavers… not the Pogue’s… not the Dubliners.

Sharing members with Barnacle Bill, Streams of Whiskey is an octet – on stage: Tim Alworth on drums, Karen Kelly on tin whistle, Stuart Klinger on banjo, guitar, and vocals, Sebastian McLaughlin on mandolin and banjo, Yianni Naslas on bass, Daniel Sutton on accordion, Steve Wickins on vocals, bodhrán and swanee whistle, and Jeff “Polly” Young on fiddle. Cover band or not, the more members on the stage (and the less technology), the harder it is to remain tight. These eight were tight; not the tight of rote playing, but the tightness that comes from knowing the songs, knowing each others’ playing style, and being able to viscerally emote in the same manner. Four songs into the first set, “Rising Moon,” this was more than obvious. This octet was in sync with one another.

Let me admit something, I have never been a fan of “If I Should Fall from Grace with God,” but even their rendition of this song had me bobbing my head. Three other great moments included “Whiskey You’re the Devil” – many a drunk night I sung this one loudly for my neighbors! But this rendition on stage sounded more urgent than any other version I have heard of this song. “Dirty Old Town” was “fuller” than I ever heard before – Wickins’ voice just lends itself to really emote in this song. And then there was “Turkish Song of the Damned.” Young’s fiddle was put to the test on this one and surpassed expectations. The entire vibe of this song was amazing; the rendition was definitely slightly darker than the original, but that just brought out the power of the lyrics even more: “The spectre on my back will soon be free, the dead have come to claim a debt from thee.”

Final verdict: great cover band, and you should head over to their MySpace and Facebook, sign up, and keep up with them. I believe they will be on “holiday” till September… but hopefully, if you are in the NYC area and free when they play, you’ll come by for some Black Stuff and good music.

Set List:
1. Misty Morning Albert Bridge
2. Spanish Lady
3. Nancy Whiskey
4. Rising of the Moon
5. Whiskey You’re the Devil
6. Streams of Whiskey
7. Old Main Drag
8. Broad Majestic Shannon
9. If I Should Fall from Grace with God
10. Sally MacLennane
11. Poor Paddy

12. A Pair of Brown Eyes
13. Greenland Whale Fisheries
14. Sayonara
15. Kitty
16. Dirty Old Town
17. Bottle of Smoke
18. Boys from the Country Hell
19. White City
20. Sickbed
21. Turkish Song of the Damned
22. Fiesta

Keep up with Streams of Whiskey at their MySpace and Facebook. Read more ...

Catching up with Via Audio and The Disco Biscuits

Slowly but surely I am catching up… and here are two albums that should have been written about already. Both American (see, I do listen to American music!), what I like about both bands is their range of musical references. They are able to bring in a lot of distinct elements, often time contradictory to one another, and meld it into a perfect song. Both have great pop sensibilities, but both are not trying to produce generic, throwaway, bubble gum pop – actually, I would not call any of this pop by any means. Instead Via Audio and veterans The Disco Biscuits offer up relevant and urgent music that is distinctly their own brands. I should have written about these a few weeks ago, but never had the chance and always get caught up on new music; so I know you may have heard these albums already, so I am not going to belabor the point… just add in my own two cents. Enjoy!

Via Audio “Animalore” (above) /
The Disco Biscuits: “Planet Anthem” (below)

Via Audio: “Animalore”

Like Heloise and the Savoir Faire, Interpol, and The Scissor Sisters, Via Audio offers up music that is distinctly New York. Out of Brooklyn, NY USA, Via Audio released their sophomore effort, “Animal Lore” (9 March 2010), earlier this year. Though losing one member, now a quartet (Tom Deis, David Lizmi, Jessica Martins, and Adam Sturtevant), the music is actually better than the first time around. I had that feeling of a new band trying too hard the first time around with the debut, but this time the music is more alluring and more infectious. With a touch of New York indie, less “folk” but more “funk,” “Animalore” offers up groovy tunes that are party or lounge ready.

The cover (above) of the album belies the music you are going to be listening to. The strong charging ram is not a metaphor, per se, for this album; the music is not confrontational, nor is it in your face. From the opening, you are seduced into a lounging feel; opening with “Hello” – the introduction is a sedate one, but one of those songs that is pretty open-ended in style, other than its obvious 60s references, that you know that anything can come next. It is the kind of opening that leaves the sky as the limit for what is about to come. “Goldrush” then rushes in and is a bit more new wave in feel, with little breathing sound effects in the background; the transition between verse and chorus is one of the most beautiful of the year. But if you thought that the music was going to continue in this fashion, you were dead wrong.

The third song, the lead single, then comes, “Babies,” and the disco references rush in – let the mirror ball start spinning. Sandwiched in the middle of the album is a small interlude, “Too Quiet,” that helps with the transition to “Lizard Song.” “You wanted a monster, here I am,” is sung to an almost tropical arrangement – but kept from that cliché by the guitar work. And as you drown yourself towards the end, whether the melodramatically somber “Olga” or the playful “Happening,” you realize that the range of the band is extensive.

Without drastically changing it up, “Animalore” subtly moves through different styles of music, mixing up the feel song to song. Via Audio never allow you to become complacent with one style, always keeping you on your toes, but never getting gritty or in your face about it. All the time with that New York City sensuality to it, that kind of sensuality that you may be scared to give into, but definitely want to – and should in this case.

Track Listing:
1. Hello
2. Goldrush
3. Babies
4, Tigers
5. Watnted
6. Too Quiet
7. Lizard Song
8. Digital
9. Summer Stars
10. Oh Blah Wee
11. Olga
12. Happening

Keep up with Via Audio at their homepage, MySpace, Facebook,and Twitter.

Here is a live performance of “Babies” from the TenthRowConcerts YouTube Channel.

The Disco Biscuits: “Planet Anthem”

Hailing from the City of Brotherly Love, The Disco Biscuits are perhaps the most ingenious band releasing this year. “Planet Anthem” (16 March 2010) incorporates everything from current indie trends to hip-hop, 80s new wave to 90s rock, and yet the album flows effortlessly from one song to another. This is a veteran group that knows how to compose music, knows their way around a studio, and can deliver the goods over and over again. And again, they deliver a schizophrenic collection of songs. Whether urging you to dance or seducing you into passion, this is a band that has not bought into the concept of sticking to one genre only, and is willing to dip their fingers into just about any style of music.

Sure the opening, “Loose Change,” reminds me of “Beetlebum” by Blur, but, as I like Blur, it did not make me cringe at all. In the track, an electronic voice states over and over again, “Money…” as the human voice chimes in the biblical lesson, “is the root of all evil.” Loose change is the root of all evil? Surely loose change can’t be evil? Irony at its best! Then “On Time” (featuring TuPhace) comes in and the party is ready to begin. Easily a contender for track of the year, this is a sleek, sexy, and sensual song that is hard not carried away in… can anyone tell me why radio programmers did not pick this one up? Though the song is not minimalist in sound, it is in approach: only the sounds and effects that add to the rhythm and lyrics are layered in. The song has the singular effect of getting you off of your arse and onto your feet for some dancing.

But the album, as I said above, is schizophrenic, it is all over the place. “Widgets” is closer to indie rock than anything else. “Konkrete” reminds me of industrial music around 1990, with a superior beat – if you were into the heydays of Meat Beat Manifesto, this will be a hard track to pass up. And if you ever wondered what the meeting of Intelligent Dance Music and dreampop would sound like, then listen to “Rain Song.” “The City” has that pyschadelia feel to it, while “Vacation” has that 90s grunge feel.

Then you have a song like “You and I” – just forget the schizophrenia from one track to the next, this is a schizophrenic fest all on its own. Again, another song that is easily a contender for track of the year, this song is simply orgiastic. And, I personally love schizophrenic albums; those kinds of album that you can never predict what is coming next and are often pleasantly surprised by what does come next. And this is what The Disco Biscuits have produced here with “Planet Anthem.” Do not let this album get by you.

Track Listing:
1. Loose Change
2. On Time, featuring TuPhace
3. Widgets
4. You and I
5, Konkrete
6. Uber Glue
7. Rain Song
8. Fish Out of Water
9. Sweatbox
10. The City
11. Big Wrecking Ball
12. Vacation
13. Quad D
14. Save Your Soul, deluxe edition
15. Camouflage Soul, deluxe edition

Keep up with The Disco Biscuits at their homepage and MySpace.

Here is their video for “One Time” (featuring TuPhace) from their MySpace video page.


On Time

The Disco Biscuits | MySpace Music Videos Read more ...