Finally had the chance to catch up with SDM and plan out some reviews. So with the help of Hyena (who reviewed Trip), here are two albums that everyone will hopefully enjoy.
Bombay Bicycle Club: “I Had the Blues but I Shook Them Off”
Hailing from Crouching End, London, the four-man band, Bombay Bicycle Club, have released their debut album, “I Had The Blues But I Shook Them Loose” on (6 July 2009 in the Europe, available as import in the USA). The album was produced by Jim Abbiss, known best for his role as producer of Arctic Monkeys, Ladytrons, Kasabians, Editors, Sneaker Pimps, and Adele's debut albums. This album definitely holds high hopes and had been announced for about two months in advance, leaving anticipation and excitement not only for the band itself but also for music listeners. Affectionately, I call the band “BBC,” but the sound coming from this particular band possesses an unusual sound within the indie world, a hidden treasure amongst the big leagues of today.
The album starts off with a stirring instrumental, “Emergency Contraception Blues.” At first the track is not extremely distinctive and does not prepare the listener what is to come. We get to listen to vocals this time around and, to my surprise, it is a very distinctive sound and there seems to be a pattern with their sound: strong drumming, an active bass, keyboards, and, of course, catchy but not too complex guitar sound. Perhaps it is the voice of Jack Steadman (lead singer and guitar) that sets them apart, sound-wise: it’s a trembling vocal, but hearing it is quite out of the ordinary. But it is not just the voice in isolation that makes this band shine; it is how the vocals interplay with the instrumentalization.
This is definitely an album of this time period. The sound is relevant and crisp, nice to blast in a car yet great to listen casually to. The lyrics of the tracks are definitely not cryptic as many bands have given into with their post-punk obsession; they are short, straight forward, and sometimes inaudible, which is the beauty of this band. You don’t have to wrack your brains to understand the music, making it easier to enjoy and not question it but I did find a very interesting verse in one of the tracks, one that I had to definitely think about. “Looking back looking out at different things, we flew to high let the sun burn our wings, we never thought it would be us, but it all comes back turned to dust.” As I said before, it’s nothing too cryptic, but it is very beautifully worded. The lines basically describe someone who’s had their ego popped but these words make it all the more imaginative and poetic.
These tracks are dangerously enticing, addicting, and catchy, and toe tapping may commence. These guys already have a strong fan base and have just released three singles, with two existing EPs from 2007. They definitely are off to a strong start and hold the promise of longevity.
Track Listing:
1. Emergency Contraception Blues 2. Lamplight 3. Evening/Morning 4. Dust on the Ground 5. Ghost 6. Always Like This 7. Magnet 8. Cancel on Me 9. Autumn 10. The Hill 11. What If 12. The Giantess
Here is their video for “Dust on the Ground” from their YouTube Channel: bombaybicycleclubtv.
Trip: “Shortcuts”
Straight out of Hammersmith, West London, Alex Child, the front man of Trip has released his debut album, “Shortcuts” (2 August 2009). The album is a kaleidoscope of sounds ranging from rap, electronic, and alternative rock, maybe this is due to Child’s varying range of musical influences which include Bob Dylan, Muse, Johnny Cash, Arctic Monkeys, Redman, and Barbra Streisand, alongside non-musical influences such as “Pulp Fiction,” “The Incredibles,” “The Sopranos,” “The Wire” and “The Wrestler.” This album is absolute ear candy and is a real eye opener as a great representation of the type of music that Trip is capable of producing.
“Shortcuts” is best described as poetry; every song in the album has a narrative with many messages. The first song starts off strong, “Applecheeks” talks about a young couple having fun together while discovering the meaning of love in their youth. Each song in the album will paint a visual image of what is happening to each character while expressing (usually in the chorus) what they are thinking. While the first song is about young love the second, “Rented,” will have you jamming while taking a deep breath and falling in love again with the chorus “I’m looking for your face in crowded places, I’m double taking all these random strangers, and since I left you at Victoria Station you’ve rented my head out, rented my head out”. While the first two will have you remembering past loves and cherishing new ones, the album also has its funny sides. This is especially true with (you guessed it, the third song) “Laundromat,” which in short is a hilarious story of a man walking into a woman in a laundry. Also, the album has some very dark song, like “The Gambler,” which is about a man thinking about his life before he commits suicide with lyrics: “I’m out on this ledge, with my hands out stretched, my feet together, I’ve reached my tether; take a deep breath, my cheeks get redder, the pavement will spell it I don’t need no letter.” Each song in the album is unique enough to have me writing here all day, but that might spoil it for you.
Every song has a message and an emotional impact on the listener, which varies only on who you are. While Trip raps on the album, each song is given diversity by the soundtrack, which is different in each song, mainly compromised of alternative sounds. The catchy soundtrack will have you dancing along to songs and the lyrics will either have you laughing, remembering the past, or seriously thinking about life. “Shortcuts” is a mixture of sounds feelings and if listened from beginning to end can be compared to a person’s life and experiences. The album’s diversity is great enough that after the first listen through, you will be able to relate each song to your own experiences. The album is addicting, fun, relevant, and above all else each song has a personality of its own. To sum it all up, this is a great album and a must have.
Track Listing:
1. Applecheeks 2. Rented 3. Laundromat 4. Go Away 5. Break the Jukebox 6. River Phoenix 7. Olympic Breakfast 8. Breathe 9. Summer Sundays 10. The Gambler 11. Who’s That
Been traveling around a bit lately, but finally had the time to sit down and write a bit (hopefully the next few days will allow me some time to write before taking off again). But I have kept my iPod stacked with great new music. So here are two albums, one by veterans and the other by a “newcomer,” that you should really give a listen to. Yeah, they are both pop albums and some of my friends have even joked about me loving these two albums. But this is not your throwaway pop music; this is craftsmanship that should be respected and emulated. In the near vacuum of good pop music of the past decade, pop acts are emerging and veterans are returning with strong efforts. Though I do not think that we will ever return to the mid-80’s new wave hit machine of mindless pop (which is a good thing), it is great to see intelligent pop being produced and giving a real alternative to corporate music, indie/festival circuit bands, hip-hop, and the dominance of rock (in all of its forms) over the past few years.
A-ha: “Foot of the Mountain”
A-ha released their first album in four years; “Foot of the Mountain” (19 June 2009 in the European Union, available as an import in the USA) truly highlights what A-ha does better than any synthpop band out there: combining luscious vocal arrangements with subtle synth hooks. There is not doubt that they have already left their mark on music with early hits like “Take on Me” and “The Sun Always Shines on TV,” where you hear their fingerprint in the likes of Beck, Coldplay, Keane, Radiohead, and Travis. Unfortunately, especially on the States side of the Atlantic, when bands have major hits early in their career, what follows if often ignored by the mainstream. But in this nu-new wave world, were new bands are emulating and celebrating the monuments of the past, it may be wise to take a look at one of those bands that not only help to define new wave, electropop, and synthpop, but continue to define, push the envelope, and compose some of the highest quality music out there.
Out of Norway, this band is not creatively bankrupt; well with being associated with a musical scene in Scandinavia that is producing some of the most interesting bands at the moment (the Legends, Royksopp, Moonbabies), A-ha proves that they can step into a new era of music with relative easy and comfort. Unlike other veterans of electro/synthpop recording these days, the quality of sound is incredible. The album is crisp and flutters easily like sunlight through a window early in the morning. What is different about this album is that it is more empathic, a feeling of being more personal than any of their previous material. For instance, in the song “Nothing Is Keeping You,” the entire music works towards the singular goal of making you feel pensive. Other tracks that I would pay close attention to is the opening track, “The Bandstand” (incredibly arranged and layered), “Riding the Crest” (a throwback to 80s new wave), and “Sunny Mystery” (a beautiful interplay in the vocal arrangements, a beautiful interplay of different sounds).
What is a real standout about the album is that it does not sound dated. If you are one of those people who are harkening for an old style, synthpop album, this is not it. A-ha has learned through the years, and even influenced, by everything from pop to dream pop. They do not jump any bandwagons, but they certainly allow themselves to be influenced, continue to experiment with new synth sounds, while composing music in the same classic standards style. Furthermore, the years have strengthened their English language skills. Just like Bjork and Robyn, it is wise to remember that these boys are not native English language speakers, but recognize the fact that to obtain international, global status, they must sing in English: “Life is the dream that you wake up to, these things you’ll never find; dreams are the life from which you wake, out of sight and out of mind; everybody makes the extra effort, these things you’ll never find; never know what to do, out of sight and out of mind but you know the answer, yeah you know the score, it feels just like before…” (“Sunny Mystery”) And moreover, this is an album by veterans who are living up to what they are capable of. It is obvious that they are not attempting to ride the coattails of their moniker, reconstruct old hits for a new generation, or living with a foot in the past with their sound or attitude. Instead, what you have here is an amazing album by a band that can produce. I am often critical of veterans, but there is nothing here to criticize (…well I would have liked a few more songs, but that is splitting hairs).
Track Listing: 1. The Bandstand 2. Riding the Crest 3. What There Is 4. Foot of the Mountain 5. Real Meaning 6. Shadowside 7. Nothing Is Keeping You Here 8. Mother Nature Goes to Heaven 9. Sunny Mystery 10. Start the Simulator
V. V. Brown: “Travelling Like the Light”
She is a genius; combining the best of sixties sensibility, rockabilly, and neo-soul, V.V. Brown (born Vanessa Brown) hit the music scene this year with her incredible debut, “Travelling Like the Light” (13 July 2009 in the UK). This is current pop at its best: fun, intelligent not heady, danceable, infectious, and “genre free.” This is the main appeal. Brown is not trying to appeal to a specific scene or sensibility; rather she has produced an album that has appeal across a large spectrum of listeners – something that is becoming increasingly rare in music today.
“Shark in the Water” (which I posted the video for here) is on the album. Nowhere on the album is the fact that she is of Jamaican and Puerto Rican descent more obvious, but more to my point I am always weary of singles by “pop acts,” because they usually represent the best of what is on the album. This is not the case of “Travelling Like the Light.” The single is amazing, but the other songs on the album are as amazing and captivating. The album opens with “Quick Fix” (not so ironically the shortest song on the album), which will bring to mind more of an American sound than a London cliché. It is this kind of song that sets her apart from other neo-soul singers like Amy Winehouse or Alice Smith. The vocals are raw, passionate, and even screechy at times, not to mention it may inspire you want to surf.
Another track worth taking a look at is “Crying Blood.” It has that infectious beat and familiarity of rockabilly (think “Monster Mash”). But she does to pop and soul vocals what Annie Lennox did twenty-somewhat-years ago with the Eurythmics: she infuses a passion and candidness that is unexpected from a voice that is so distinctive. “Can’t believe what you’ve done to me,” ingeniously Brown sings, “you got me feeling like a cloud in stormy weather.” Of course that album includes the mandatory ballet (aptly called “I Love You”), but it is the slow-paced, almost experimental, titular track “Travelling Like the Light” that will get your emotions stirring: “I try to deny when my surface butterflies, and I try to resist when you say that it’s alright, and I try to believe that it’s nothing but a crush, but it’s incredible… so incredible… I’m travelling like the light.” The last track I would like to mention my favorite song on the album: “Everybody.” Busting in a bit of disco elements and a steady beat, this song is all about dancing, but not frivolity.
V.V. Brown may be a new name to the scene, but she is anything but an amateur. Under her pseudonym, “Geeki,” she has penned music for pop acts such as the Sugarbabes and Pussycat Dolls, and has the goal of one day scoring films. Most impressive, she turned down opportunities for recording, turning down P. Diddy at one point. She stuck to her guns and eventually had the opportunity of releasing her own album, on her own terms. Along side such artists like Little Boots and La Roux, pop is coming back with a vengeance. But what is great about this album, as I said before, is how its appeal crosses genres, but I would also like to add that unlike so many artists out there, the appeal crosses generations. (My mom loves this album.) There are rumors of a fall States-side release of the album, but do not hold your breath and just import it!
Track Listing: 1. Quick Fix 2. Game Over 3. Shark in the Water 4. Leave 5. Bottles 6. Crying Blood 7. Back in Time 8. I Love You 9. L.O.V.E. 10. Everybody 11. Crazy Amazing 12. Travelling Like the Light
Here is V.V. Brown live performing “Crying Blood” on the John Peel Stage at this years Glastonbury Festival from her YouTube Channel VVBrownTV.
Been away for a few days, but finally got the chance to check out some videos. Okay, some of this is cheese - but the music is great (one song even has a sample of "Happy House" by Siouxsie and the Banshees). Enjoy!
Preston: "Dress to Kill" from his YouTube Channel prestonofficial.
The Twilight Sad: "I Became a Prostitute" from the Fatcatrecords YouTube Channel.
Team Facelift: "I Want to Have Your Baby" from the tommymas YouTube Channel.
Bloc Party: "One More Chance" from their YouTube Channel: blocpartyofficial.
Crystal Fighters: "Xtatic Truth" from their YouTube Channel: CrystalFighters.
Our Lady Peace is one of those bands that take me back many, many years; whenever I hear their song “Superman’s Dead,” I think of seeing them live at Irving Plaza with a dear friend. One of two things I have always loved about Our Lady Peace is that they are simply a rock band; they may have been influenced by grunge and even some Brit pop, but they never fit into those categories. The other thing I love about the band is their humility. They never tried to write a stadium anthem, or even entertained dreams of being the greatest rock band ever. Instead, they have stuck to their singular concept, evolved throughout the years, and can always be expected to put out solid music. Releasing their first album in five years, “Burn Burn” (21 July 2009) proves that after all these years Our Lady Peace is as urgent, vibrant, and compelling as they were when they first hit the airwaves in 1992.
This time around, Raine Maida (vocalist) produced the album. “Burn Burn” is emotive yet not emo, introspective yet not gloomy, power-packed yet not overwhelming. For instance, in the track “The End Is Where We Begin,” Maida sings, “Here I am, waitin’ for one last chance, ‘cause this time we got nothing left to loose. And everything is ruined, but the end is where we begin.” Delivered with conviction devoid of overdramatic or emo bellowing, the music is fast paced and guitar driven. “Escape Artist,” with keys and a constant shift of beats, demonstrates the band’s constant attention to details and ability to compose a single song with more than one emotional mood. In essence, their mission has always been to deliver the most complete experience from listening to a single song.
The album easily sways from out-and-out rock fests to slower paced songs; however, regardless of the actual sound of the song, the emotive and thematic qualities do not lessen or intensify with the speed or lack of tempo. The guitar playing is as mature as the vocals. There is no attempt at flashy falsetto (Maida has one of the best falsettos out there), and the guitar playing, though intricate at times, is not attempting to be virtuoso. That being said, the closing track is perhaps the most amazing track on the album. “Paper Moon” really puts forth a new maturity in sound for Our Lady Peace (with bits of falsetto and a great solo); the song moves, flows easily, between distinct parts – a journey though a luscious, morphic soundscape, which ends abruptly, leaving you wanting more. Tongue-in-cheek when Maida sings, “hipsters trapped in their own irony,” dead serious with, “I was thinking that if you know a way out, then I’d like to go with you,” the song is a culmination of everything that Our Lady Peace is about – emotive, strong craftsmanship, that can make you party along or sit back and think with one song.
There is nothing like throwing on some old music and reliving memories in your mind, but what is more amazing is throwing on new music and having memories rush back. I think I speak for all fans of Our Lady Peace when I say that there is something about this band that elicits a visceral response when you listen to them. It is an experience that is not static; though you know you are listening to something new, a lot comes to mind. This is yet another one of those qualities about this band which amazes me. I spent the better part of the last sixteen hours listening to “Burn Burn,” and I have come away from it being able to say that this album is definitely going down on my must list for 2009. Get this album, see them live – it is an experience you will not regret.
Track Listing: 1. All You Did Was Save My Life 2. Dreamland 3. Monkey Brains 4. The End Is Where We Begin 5. Escape Artist 6. Refuge 7. Never Get Over You 8. White Flags 9. Signs of Life 10. Paper Moon 11. Time Bomb – bonus track 12. The Right Stuff – bonus track
Catch them live. Check out their homepage for more information on the following dates and future updates.
Thursday, July 23: Ed Fest, Edmonton, AB Canada Friday, July 24: Summer Invasion, SK Canada Saturday, July 25: Virgin Fest, Vancouver, BC Canada Tuesday, July 28: The Troubadour, Los Angeles, CA USA Sunday, August 2: Citadel Hill, Halifax, NS Canada Saturday, August 8: Turtle Crossing, Brandon, MB Canada Saturday, August 8: X-Fest, Brandon, MB Canada Monday, August 10: House of Blues, Dallas, TX USA Tuesday, August 11: Antone’s, Austin, TX USA Wednesday, August 12: House of Blues, Houston, TX USA Friday, August 14: Center Stage Theatre, Atlanta, GA USA Sunday, August 16: Theatre of the Living Arts, Philadelphia, PA USA Monday, August 17: 9:30 Club, Washington, DC USA Tuesday, August 18: Paradise Lounge, Boston, MA USA Thursday, August 20: House of Blues, Cleveland, OH USA Friday, August 21: The Fillmore, Detroit, MI USA Saturday, August 22: Vic Theatre, Chicago, IL USA Sunday, August 23: Verizon Wireless Theatre, Maryland Heights, MO USA Saturday, August 29: The Great New York State Fair, Syracuse, NY USARead more ...
Here is my attempt to bring myself up to speed, or at least try to. I wanted to give time to some CDs that I did not miss, but just did not have the time to dedicate to them when they initially were released. But as it is the summer, and typical of July and August, the rate of new releases has slowed down a bit, I finally have the opportunity to go backwards a bit. Though I am sure that some of this may be old-ish news, I still wanted to post a few words about these three albums. I have been listening to Lightning Seeds since 1989 (dating myself a bit, ah?), Kasabian since their since their debut, and recently came across Wave Machines when a friend made me listen to them. On face value, it seems odd to be writing about these three bands together, but actually there is one common thread between them: they offer up music that is not a repetition of everything else out there. These three albums are by far distinct and great alternatives to what is the “indie” mainstream.
The Lightning Seeds: “Four Winds”
This is the sixth studio album for the Lightning Seeds, the first since 1999! Ian Broudie (vocalist, guitarist, song writer, and creative mastermind behind the band) has taken his time releasing a proper solo album and producing the works of other bands. Now back with Lightning Seeds, “Four Winds” was released on 18 May 2009 in the UK, and available as an import in the US. And the time away from the music scene has helped to evolve the band’s sound substantially, though not to the point of being unrecognizable. Though the pop sensibility is there, also present is a melancholic, moody feeling throughout the album. This is definitely the Lightning Seeds album that has the most emotional depth till date.
This is not to say that what you get isn’t straightforward pop; what you get out of the Lightning Seeds is pop with more introspection than before. Right from the opening track, “4 Winds,” a sorrowful pop song, Broudie sings, “I guess you got those blues, and when you get those blues there’s nothing you can do.” The mood of the music and the lyrics do not “lighten” up for the lead single, “Ghosts.” A 60’s inspired ditty, miles away from past singles like “Pure,” the song works because when it verges on being just another pop song, the ingenious production (with little sound effects) makes the song fresh and intriguing. My favorite track on the album is “I’ll Be Around,” and not because it is familiar, closer in sound to older material. Lyrically one of the Broudie’s strongest, musically the song is best described as one long sigh. What makes the song is the mismatched elements of the music: from an 80’s beat, to contemporary almost eerie synth sounds, psychedelic guitar playing, and dead pan vocals. But that is Broudie’s talent as a composer and producer – his ability to create a song out of variant threads of genres and ideas.
Broudie has always been criticized as just another producer who wants his fifteen minutes of fame behind a mic. But considering that his track record as a producer is with indie rock, and not obviously Beach Boy influenced music (like “I Still Feel the Same”) with electronic elements, Broudie and the rest of the Lightning Seeds have always offered up something that is distinct and different from the everyday fad. “Four Winds” is no different. The Lightning Seeds avoid all the current clichés (post-punk revival, synthpop, nu-shoegaze, etc…), and instead deliver on their own brand of pop music. Ten years definitely gave them the perspective of going in another direction, and though some old fans are going to scream, “This is not what I expected,” the unexpected is very delightful.
Track Listing: 1. 4 Winds 2. Things Just Happened 3. Ghosts 4. Said and Done 5. Don’t Walk on By 6. The Story Goes 7. On a Day Like This 8. I’ll Be Around 9. All I Do 10. I Still Feel the Same
Here is the video for “Ghosts” from the fcowen123 (Universal Music TV) YouTube Channel.
Wave Machines: “Wave If You’re Really There”
Wave Machines is a relatively young band, formed in 2007, out of Liverpool. Releasing their debut album “Wave If You’re Really There “ on 23 June 2009 and really deliver a distinct brand of electropop. As compared to most of the artists out there working on electropop, the album is much more sedate (mature maybe) in sound. Incorporating more guitars in their brand of electropop than most others in the genre, the album may not be a standout against the other electropop releases of the year, but definitely offers a valid, well constructed alternative to the radio ready electropop being produced.
Opening with “You Say the Stupidest Things,” the elementary electro sounds are accompanied with one of the funniest lines of the year: “The day is wasted if you’re not wasted.” In tempo, the song really never picks up its speed, but the song has that Talking Heads quality that gets you to stop and listen and admit, with some guilty pleasure, that you like what you are listening to. The same goes for the rest of the album. “Keep the Lights On,” with its disco overtones, gets you bobbing you head, while “The Greatest Escape We Ever Made” may get you onto your feet. Like many of the synth and electropop bands of the 80s, the music isn’t dance ready but danceable. But what is impressive about the sound here is that there is no attempt at a very “electronic” sound. This is very bare recording, bare production, which allows the melody of each song to speak for itself.
Already, I imagine, the press is slacking them off (I will be googling in a bit to see what is being said), but the reality is that this is perfect lounge music. Ignore the press if they are slacking them off, in the least what you get with this album is a great, head bobbing experience. At most, if you are willing to give into it, you will get whisked away into a quirky world that is entertaining and carefree. Not all music has to be heady, and not all music should be bombastic. Sometimes, quite often, music should just be an enjoyable, carefree experiences that you can repeat over and over – and “Wave If You’re Really There” can deliver that experience again and again.
Track Listing: 1. You Say the Stupidest Things 2. Carry Me Back to My Home 3. I Go, I Go, I Go 4, Keep the Lights On 5. Punk Spirit 6. The Greatest Escape We Ever Made 7. Wave If You’re Really There 8. I Joined the Union 9. The Lines 10. Dead Houses
Out of Leicester, Kasabian has impressed me since moment one and have never disappointed. They released their third album, “West Ryder Pauper Lunatic Asylum” (5 June 2009 in the UK, 9 June 2009 in the US), after teasing us with two singles, “Vlad the Impaler” and “Fire.” Audiences were teased enough to launch the album to #1 in the UK upon release. Though the album’s title evokes the idea of insanity, the band has explained that they chose the title for aesthetical reasons – they simply liked the way it sounded. However, the music is pretty erratic, incorporating rock and electronic to various degrees. I can sum up the album with one phrase: treasure trove.
The biggest surprise on the album is the track “West Ryder / Silver Bullet.” It is a duet with Rosario Dawson. The track is more neo-psychedelic than anything else, what really got me was that I could never imagine Dawson’s voice along side of Tom Meighan’s. The song is eerie, scary even, but it works. (Thumbs up to Dawson for doing such a track!) The rest of the album will keep you as entranced, with a few more surprises. The opening track, “Underdog,” will not ease you into the listening experience – it is going to grab you and throw you into it. “Take Aim,” with its urban beat and building urgency after the orchestrated opening, is perhaps the most hypnotic, infectious song on the album. As a listener you never know what world you are, either the 60’s with tracks like “Fast Fuse” or a spaghetti western with tracks like “Fire.” And as you’re being tossed back and forth between styles, getting more and more erratic, you end at “Happiness.” Avoiding that rock ending, but definitely offering up an anthem, the song is laden with tinges of gospel.
Come to think about it, the album is a bit lunatic, schizophrenic. Kasabian could have played it safe, reproducing the sound and exact style of the past two albums; they could have produced a series of radio friendly songs ready to conquer the pop charts, but thank God they didn’t! “The Wet Ryder Pauper Lunatic Asylum” may not be everyone’s cup of tea, until they take a good listen to it. It is very hard not to like this album… love it even. What you get here is an adventure through an unexpected, cliché free soundscape that is mesmerizing.
Track Listing: 1. Underdog 2. Where Did All the Love Go? 3. Swarfiga 4. Fast Fuse 5. Take Aim 6. Thick As Thieves 7. West Ryder / Silver Bullet – featuring Rosario Dawson 8. Vlad the Impaler 9. Ladies and Gentlemen (Role the Dice) 10. Secret Alphabets 11. Fire 12. Happiness 13. Runaway – Live, Japanese Bonus Track 14. Cunny Grope Lane – Japanese Bonus Track, iTunes preorder 15. Road Kill Café – Japanese Bonus Track
I thought I would do something a bit different. Living in the States, a country that geographically is so expansive, language is something that is often taken for granted. There is an attitude that “everyone” speaks English, and if they don’t, they should. (I am sure that the US is not the only country that has this mentality.) But if you lived in the middle of Europe, where countries are the size of American states, there is a different thinking and acceptance of different languages, seen in the fact that Europeans typically speak multiple languages. I bring this point to the forefront because it goes to explain why the American pop / mainstream airwaves are dominated by English speaking musicians and entertainers. We are one of those countries, unlike France, Germany, or Netherlands, where music from other “non-domestic” language origins does not chart. I thank my mother that she made me learn Spanish from a young age, to the point that I feel as comfortable with my mother’s tongue as that of my national origin. It has led me to appreciate literature and music that are not produced in English. In fact, I have come to enjoy not just Spanish artists, but also music from all over the world – but right now I would like to look at one band only – Amaral. This is an amazing band, I hope I spark enough curiosity in the band for some people to take the plunge and explore.
Out of Zaragoza, Espana (Spain), Amaral is the duo of Eva Amaral (vocalist, songwriter, guitarist, and namesake of the band) and Juan Vicente Garcia Aguirre (Juan Aguirre for short, guitarist and songwriter). Their influences span a range of different musical genres, which is apparent in their music: British pop and rock, Latin music from salsa to Mexican folk, and synth/electropop to name a few. From obscurity to global recognition, they have supported Bob Dylan and Lenny Kravitz, and in 2008 Amaral shared the stage at the 46664 Foundation benefit concert, held at Hyde Park, with Queen and Paul Rodgers, Annie Lennox, Sugarbabes, Amy Winehouse, and Razorlight.
What do they sound like? They are chameleons. Album to album, their sound has matured and become more and more complex. Within each album, the range of music can go from acoustic folk to electronic dance. These two have no qualms or hesitations about writing the music they want to write, to jump from one genre to another, yet consistently do it with sophistication, sound craftsmanship, and incredible intricacies in their arrangements. Lyrically (all lyrical translations done by me), they range from the mundane, everyday, straightforward sort of writing to highly poetic language. Just as musically there is a morphology to be dissected, lyrically there is also that same thrill that one does not know what to expect. With a new album in the works, the sky is the limit for this band.
Just a note, as anyone who speaks more than one language or taken a foreign language in high school or college, many things just don’t translate well. What is highly poetic and figurative in English may be base in Spanish, and vice versa. For example, “You are my sunshine” is not cute in Spanish (or even used as far as I know). On the flip side, in English we would say “Nice to meet you,” but in Spanish you say “Encantado,” literally “enchanted.” So when reading through some of the translated lyrics, keep in mind that they come from Spanish. One other note, that may perhaps encourage some people to learn a bit of Spanish, cursing is Spanish is much more fun than English.
“Amaral” (1998)
The album immediately solidified Amaral in the Spanish music scene, while ears started to perk in Latin America. This was not a straightforward, expected sound out of Spain in 1998. The incorporation of Anglo-musical influences permeates every song. Included in the collection is “Dile a la rabia” [“Tell It to the Rage”] (translation: “Tell the rage to stay behind, between the fog and the traffic noise, next to the stones that have harden us…”), can easily fit along sing the current trip-hop of its day, with ambient keyboards reminiscent of the post-punk rockers. Also, the lead single, “Rosita” [“Little Rose”] is a treat. Definitely more in line with a Smiths-esque type of guitar playing, the song is the antithesis of the emotionally laden “Dile a la rabia.” “Un dia mas” [“One More Day’], easily my favorite on the album, is a mantra for facing another day, a mantra of seeing the wonders of life and joys that it brings.
Track Listing: 1. Rosita [Little Rose] 2. Un dia mas [One More Day] 3. Voy a acabar contigo [I’m Going to Finish with You; or I Am Done with You] 4. Cara a cara [Face to Face] 5. Tardes [Afternoons] 6. No existen los milagros [Miracles Do Not Exist] 7. Lo quiero oir de tu boca [Literally, I Want to Hear It in Your Mouth; figuratively, I Want to Hear You Say It] 8. Habla [Speak] 9. 1997 10. Dile a la rabia [Tell It to the Rage] 11. Soy lo que Soy [I Am What I Am] 12. No se que hacer con mi vida [I Don’t Know What to Do with My Life] 13. Mercado negro [Black Market]
Here are the video for “Rosita” and “Voy a acabar contingo” from the canalgrupos YouTube Channel.
“Una pequena parte del mundo” (2000) [“A Small Part of the World”]
Recording their second album in London, twelve of the thirteen tracks are written by Amaral, as they included a cover of Cecilia’s (born Evangelina Sobredo Galanes) “Nada de Nada” [“Nothing At All”]. This album is no sophomore slumps, easily outselling their debut album. The album in general is a slower tempo than the debut, and more acoustic. Even with a title like “Cabecita loca” [“Crazy Little Head”], the music is sedate, emotive, and relaxing: translation, “You called me crazy little head for following my dreams, for breaking the waves. I’ll defend myself with my broken wings against the current, fly…” The album ends with “El final” [“The End"], a touching admission of the heart: translation, “Life is not the same without you, without you life is meaningless. Why should I continue when at the end of it all I will never find you.” The music is best described as cute, with wind chimes in the background (among other sound effects), which belies the lyrical content - irony of sort.
Track Listing: 1. Subamos al cielo [Rise to the Heavens] 2. Cabecita loca [Crazy Little Head] 3. Como hablar [How to Speak] 4. Los aviones no pueden volar [The Airplanes Can’t Fly] 5. Queda el silencio [The Silence Remains] 6. Una pequena parte del mundo [A Small Part of the World] 7. Botas de terciopelo [Velvet Boots] 8. Volveras la suerte [Luck Will Return] 9. El dia de ano nuevo [New Year’s Day] 10. El mundo al reves [Upside Down World] 11. Siento que te extrano [I Feel That I Miss You] 12. Nada de nada [Literally, Nothing of Nothing; Figuratively, Nothing At All] – cover, original by Cecilia 13. El final [The End]
Here are the videos for “Como Hablar” from the canalgrupos YouTube Channel.
“Estrella de Mar” (2002) [“Starfish”]
If I was forced to rank my top twenty favorite albums of all time, I would have to place this one on it – hell, it would make top 10. This album has it all – sultry ballets, danceable beats, head bobbing rock, folky ditties, and poetry. Again returning to London to record the album, this was the album that screamed out “Amaral is here.” Selling over a million copies in Spain alone and breaking a few records, Amaral garnished the global attention from critics and audiences. I would invest in the Latin American edition, even if you have to import it at a pricey cost. To hear Eva Amaral and Beto Cuevas sing a duet version of “Te Necisito” [“I Need You"] is an experience you will never forget. But the song that still haunts me on this album after all these years is “En un solo sequendo” [“In Just a Second”]. This is a song of epic proportions. I am temped to translate all of the lyrics, the sheer poetic genius of the song, but here is just a sample: “Outside the wind blows, outside it rains, a frightening howl, but a whisper surrounds us, it embraces us slowly, like a mantra we both know. It is not a ghost, it is my sprit that speaks; it enters your dreams and from a distance screams that I love you. In just a second, I have realized what’s important and what’s not – the end of the world, the storm (a play on words, as it also means “torment”), and hurt are so far away from this room… I want to kiss you, but I am scared that I will wake you…” The song starts very slowly, with sound effects, but the beat drops as the second verse (where the above lyrics come in) starts. As the beat kicks in, and the guitar start to aggressively come in, keyboards bring an ambient and emotive edge, while Eva’s voice oscillates somewhere between anger and despair.
Note, the first cover is the European, the second the Latin and North American.
Track Listing: 1. Sin ti no soy nada [Without You I’m Nothing] 2. Moriria por vos [I Would Die for You] 3. Toda la noche en la calle [Out All Night on the Streets] 4. Te necesito [I Need You] 5. Que Sera? [What Will Be?] 6. Salir corriendo [To Leave Running] 7. Estrella de mar [Literatlly, Sea Star; figuratively Starfish] 8. Rosa de la paz [Peace Rose] 9. No sabe donde va [She Doesn’t Know Where She Is Going] 10. De la noche a la manana [Literally, From Night to Morning; figuratively, Overnight] 11. El centro de mis ojos [The Center of My Eyes] 12 En un solo segundo [In Just a Second] Bonus Tracks for Latin American and North American Editions 13. Te Necesito – sung as duet with Beto Cuevas 14. Sin ti no soy nada – acoustic 15. Moriria por vos – acoustic 16. En un solo segundo – acoustic
Here are the videos for “Te Necesito” (the first the original, the second the duet with Beto Cuevas) and “Toda la noche en la calle.” The first and third from the canalgrupos YouTube Channel. The duet from the Ligaproducciones YouTube Channel.
“Parajos en la cabeza” (2005) [“Birds in the Head”]
Recording this album in the famous Eden Studios of London, “Parajos en la cabeza” [“Birds in the Head”] garnishes the same critical acclaim as the prior album in Spain, as well as Latin America. This album is quickly canonized as one of the best Latin Rock albums of all time. The album does receive positive critical reception in other markets, leading Moby and Amaral to collaborate eventually. This album opens with “El universo sobre mi” [“The Universe Over Me”], which is driven by some of the best strumming of an acoustic guitar. Lyrically, again Amaral offers up an anthem/mantra: translation, “I want to live, I want to scream, I want to feel the universe over me. I want to know what it is to be free, I want to find my place [in the universe].” Amaral owns this theme of living life on your own term in Latin Rock. My favorite track on the album is the dramatic “En el rio” [“In the River”]: a song that speaks of dreams, of seeing her father and swimming the river until reaching the ocean – incredible imagery of being born and slowly immersing yourself in life, the world. Again, beautiful strumming, but what makes the songs are the string arrangements. They highlight the emotional highs and “highers.”
Track Listing: 1. El universo sobre mi [The Universe Over Me] 2. Dias de verano [Summer Days] 3. Revolucion [Revolutions] 4. Mi alma perdida [My Lost Soul] 5. Marta, Sebas, Guille y los demas [Marta, Sebas, Guille, and the Others – the later two are names with no English equivalents] 6. Esta madrugada [This Early Morning] 7. Big Bang 8. Enamorada [In Love] 9. Tarde papa cambiar [Too Late to Change] 10. En el rio [In the River] 11. Resurreccion [Resurrection] 12. Confiar en alguien [To Trust Someone] 13. Salta [Jump] 14. No soy como tu [I’m Not Like You] 15. Si tu no Vuelves [If You Don’t Come Back] – Mexican edition
Here are the videos for “El universo sobre mi” from the canalgrupos YouTube Channel, and the link for “Marta, Sebas, Guille y los demas” from the emimusic YouTube Channel.
“Gato negro. Dragon Rojo” (2008) [“Black Cat. Red Dragon”]
Amaral does the unspeakable in today’s musical market: in 2008 they release a double album. And yet, it manages to be a top 40 World Chart album. The first disc of the double is referred to as “Gato Negro” [“Black Cat”], and the second as “Dragon Rojo” [“Red Dragon”]. Released in various formats, including a USB drive, the album was recorded in part in London, but for the first time, Amaral also recorded in New York. Staying closer to a standard rock format than their prior albums, there are few songs that will catch you by complete surprise. For example, “Alerta” [“Alarm”] incorporates elements of ska, with cutting, critical lyrics like, “Sleeping princess, in an empty castle…” Another surprise on the album was Juan Aguirre singing lead vocals on “Es solo una cancion” [“It’s Only a Song”]. The double album closes with “Concorde” – named after the supersonic jet that was decommissioned. A slow paced tempo, lacking any sustained use of snares, the song relies heavily on arpeggios and the emotive quality of Eva Amaral’s voice: translation, “Nothing will ever be the same, it is the end of innocence; you will no longer be able to fly the Concorde over our heads.” A song that just ends, as abruptly as it began, it leaves you with a feeling of being haunted.
Track Listing: Disc One: “Gato negro” [“Black Cat”] 1. Kamikaze 2. Tarde de domingo rara [Strange Sunday Afternoon] 3. La barrera del sonido [The Sound Barrier] 4. Las chicas de mi barrio [The Girls of My Neighborhood] 5. Esta Noche [Tonight] 6. Las Puertas del Infierno [The Gates of Hell] 7. Biarritz 8. Gato Negro [“Black Cat’] 9. Rock & Roll Disc Two: “Dragon rojo” [“Red Dragon’] 1. Perdoname [Forgive Me] 2. Alerta [Alarm] 3. El blues de la generacion perdida [Lost Generation Blues] 4. De carne y hueso [Literally, Of Flesh and Bones; figuratively, Flesh and Blood] 5. Dragon rojo [Red Dragon] 6. Es solo una cancion [It’s Only One Song] 7. El artista del alambre [The Artist of the Wire] 8. Deprisa [Fast, or Quickly] 9. Doce palabras [Twelve Words] 10. Concorde 11. El artista del alambre, acoustic – iTunes Edition
Bonus time – here is Amaral’s “Llegara la tormenta” from the aragonmusical YouTube Channel. It is a cover of Bob Dylan’s “A Hard Rain’s a-Gonna Fall.”
Keep up with Amaral at their homepage and MySpace (does not seem heavily used).
Take the plunge if you do not speak Spanish and take a listen, you might find yourself impressed. And if you do understand Spanish, not only will you hear some great music, but also the poetry of this band will blow you away. And with a new album on the way, this may be the best time to start catching up with Amaral.
At the moment, it really is all about the 1980s. It does not matter if we are talking about post-punk revival or electropop, musicians are turning back to the simple sensibilities kitschiness, and catchy hooks that really characterized the 80s. La Roux is no exception. The band is the brainchild of Elly Jackson (“la roux” being a reference to her red hair) and Ben Langmaid, who both share songwriting and production duties. She is the face of the band, while he is the musical wizard of the band. The arrangement is much like that of Vince Clarke post Depeche Mode in Yazoo and Erasure. Go figure, both bands are definite influence on La Roux. But they are also like early Eurythmics (another obvious influence), with a stoic Lennox and a mysterious Stewart. Regardless of all the comparisons, La Roux has been tantalizing the British and European airwaves for the past few months.
Finally releasing their self-titled debut, “La Roux” (29 June 2009 in the UK, available as import in the US), La Roux is successfully riding the success of their first two singles. “Quicksand” and “In for the Kill” (which reached #2 on the UK Charts) led the anticipation of this album. Though many fans and critics alike did not know what to expect out of the band, their brand of electropop “pops” out from the speakers and has its own definitive sound. Much like the early Eurythmics (with “In the Garden” (1981) and “Sweet Dreams (Are Made of This)” (1983) albums), there is a constant control of emotion – the music resists become a bubbly, love fest.
Hands down, my favorite track on the album is “As If By Magic”: “Slurring all my words, until something sticks but in this smoky universe my mind keeps playing tricks. And although you’re the only home I know, as if my magic thoughts of you are gone.” Set to music that is sedate, mid-tempo (a bit to slow to dance, but fast enough to “move” to), Jackson’s voice never reaches emotional breakdown or anger; instead she personifies everything stoic and statuesque. The same with “I’m Not Your Toy,” set to music that reminds me of my old Atari 2600. You want Jackson to get angry and passionate as she states, “It’s all false love and affection; you don’t want me, you just want attention.” Instead what you get is plain matter of fact, with some inflection for effect. It is brilliant because of it is counter logic. We expect someone to become angry, we expect someone to want to scream, but when you think about it, if you are over someone, and you’re not their toy, you can be stoic and statuesque, matter of fact, and walk away.
Okay, the production is not overwhelming, but that is the point. There is no gimmicky trick here to get you to keep listening; there are no obvious sound effects to hook you. Your attention is constantly brought back to the actual music – the ingenious arrangements, the distinct vocal styles. From the fast-paced opening “In for the Kill” to the electro epic of “Armour Love” (and then the bonus tracks), what you get is precisely delivered music, a meticulously produced soundscape that is captivating. I am all for the bubbly, synthpop, or darker sides of electropop, but La Roux’s brand of electropop, which does not fit any of the above, is an incredible experience. Their own brand of electropop is a definite tipping of the hat to the past, but also a big, bold step into a new direction.
Track Listing: 1. In for the Kill 2. Tigerlily 3. Quicksand 4. Bulletproof 5. Colourless Colour 6. I’m Not Your Toy 7. Cover My Eyes 8. As If By Magic 9. Fascination 10. Reflections Are Protections 11. Armour Love 12. Grown Pains – UK Bonus Track 13. Saviour – iTunes Pre-Order Bonus Track
Over the past few months, I have made all of my friends listen to "Stories on the Radio" by Transbeauce. I can honestly say that it was an exciting experience to write about their music (link) and interivew them (link, they responded in both English and French). I wanted to share two videos by them, "Dressed in Black Berlin" and "The Stars Are Black" (one of my favorite tracks of all time). As demonstrated by these two songs, their music is amazing. Sexy, eerie, and captivating all in one, Transbeauce has a way of hypnotizing the listener with their sound, and even their imagery. Enjoy.
Reality: at the end of it all, you can produce the most amazing video ever, but if the music is subpar, it will not catch on. Ultimately, bands try to sell their music through videos, and in our sound byte, broadband world videos have become more and more important. But it is not just the actual song that videos are selling, they also sell the band as product: image, attitude, etc… Most fashion is emulation of famous people, and most teens get their idea of rebellion and counterculture (or at least what will piss off their parents) from musicians and celebrities. The image of the band, who they are, is the most important thing to sell other than the music; it helps identify them, set them apart, and is a sort of visual signature that cannot be confused. But what happens when a band decides that they do not want to be the focal part of their own videos? What if they do not want to even appear in their own video? This is where things get really tricky.
Take Bjork for instance. Her video for “All Is Full of Love” has her animated as a robot that is being constructed. (Video from the bjorkotcom YouTube Channel.)
Always one to juxtapose fantasy and reality, the carnal from the synthetic, Bjork’s video is the story of a robot that feels love, or as she sings, “full of love,” from another robot. Symbolism? Well, we as humans work as robots, in a daily grind, but it is not often that our labors are appreciated. Actually, those that we pore ourselves over quite often take us for granted. She sings, “You’ll be given love, you have to trust it, maybe not from the sources you have poured yours.” Comfort and love is not often found in the object that you pour your devotion over, but rather in those that pour themselves as you do. Love is found in the familiar, the similar, not in opposites or where you do not have the right to demand it. Most work is thankless, comfort is found in the least expected places.
Then you have Metallic’s harrowing “All Nightmare Long.” (from their MySpace Videos page.)
Depicted in the video is an alternate history of a battle between the USA and the USSR, in which the USA loses. The narrative in brief: the USSR discovers this alien sore that can reanimate dead bodies (as it uses it as a host). This spore (analogous to a bio weapon) devastates the American population – as a new flag, a hybrid of the American and Soviet flags, is planted. Perhaps the song itself was not originally written for political reasons (“Cause we hunt you down without mercy! Hunt you down! All nightmare long!”), the song works well with the idea of terrorists trying to gain a biological weapon that other nations are not ready to combat. In one quick attack, history as we know it could take another turn, supplanting the USA as a world power to another nation. This is perhaps Metallica’s most ambitious video to date.
But it does not all have to be death and gloom; sometimes bands just want to create a fun video. For instance, Bloc Party’s “Flux” (from blocpartyofficial YouTube Channel.)
No statement, just a fun video. An ode to Godzilla and Mazinger (Tranzor Z in the USA) type monster film, this video offers an alternative to boring videos with bands standing there in performance or some heady narrative. Though lyrically and visually the video has no common ground (other than the line “I’d kill for an adventure”), the storyline is cute, infectious, and as fast paced as the song. It works.
And not all statements have to be as apocalyptic as Metallica’s. Erasure, using some fan footage, makes a powerful, practical statement with “I Could Fall in Love with You.” (From the MuteUSA YouTube Channel.)
A love fest for sure. Boy kissing girl, girl kissing boy, boy kissing boy, girl kissing girl – cast to a typical Erasure single (somewhere between pop-ditty and ballad in tempo, with perfect melodies but awkward rhymes at times), the video just pushes forth the notion that love is love, no matter in what format it comes in. (I am curious though, which video – Metallica’s or Erasure’s – would piss off the conservative right the most?)
Though the boys of Muse appear in their video “Knights of Cydonia” (from the muse YouTube Channel), they are supplanted as the focal point by the narrative of the video.
Combining elements of spaghetti westerns, kung fu movies, and science fiction, the storyline revolves around The Man With No Name saving his love, Princess Shame Kuriyami. Sure, the video dismisses the real lyrical theme of the song, which is political (“How can we win, when fools can be kings; don’t waste your time, or time will waste you…”) and a calling to arms to stand for justice. But the video works, and though the band is in the video as holograms, it is the actors that command your attention.
Placebo took a stab at this kind of video with their cover of Kate Bush’s “Running up That Hill” (from their MySpace Videos page.)
First off, I think that this was the most daring song that Placebo has ever covered. This is one of those songs that are sacrosanct, untouchable. Yet Placebo is able to pull it off to perfection. A montage of fan footage, mouthing the lyrics of the song, the video is as slow and gut wrenching as their cover of the song. And why not take this approach? The song is a cover, and, in essence, the montage is covering them covering a song. Considering that they have the money to produce a flashier video than this, they get bonus points for not doing it! Instead, the video gains emotional power because of their fans – it is so obvious that these non-professional actors feel what the band is putting out there.
Well, it came as a surprise to me when Depeche Mode took this approach with the video off of “Sounds of the Universe”: “Wrong.” (From their MySpace Videos page.)
Definitely wrong in everyway! The video is a harrowing narrative of a man tied in a car, moving backwards out of his control, as it smashes into everything until eventually he gets smashed at the end, as the song ends on it’s final word, “Wrong.” The band only appears for a few seconds, as bystanders looking at this car spin out of control. My first impression of the video: fucking amazing! Like Muse, I am not sure that the video does justice to the lyrical content of the song, but this video demonstrated that this band of veterans could try something new, something different, and could still disturb the shit out of me. Hands down, this is my favorite of video of the year so far.
Then the band released “Peace.” For some odd reason the single will not be released in the USA. (From their MySpace Videos page.)
So why was does the video not include Depeche Mode at all? The official line is that David Gahan was ill (he did have surgery) and was not available for the video. But videos are not produced overnight; they are planned out, permits have to be obtained, directors and producers have to make time in their schedule, etc… So forgive me if I do not buy the party line. This is a well-conceived and filmed video. So other than the promotional poster on the building towards the end of the video, why is the band not in it? Why not wait till Gahan was out of the hospital and able to film? Personally, I think that this was the concept for the video from the beginning. Which leads me to think – and this can be dangerous.
If videos sell more than just the song, has Depeche Mode hit on something that other bands have not? Videos also sell image, attitude, and, yes, culture. “Peace” is so intertwined with war in this video. (It sort of reminds me of a bumper sticker I saw a while ago: “Fighting for peace is like fucking for virginity.”) Is DM capitalizing on the current world crisis with wars and threats of it everywhere? It is impossible to think that anyone in this world is not conscious of all of the war occurring. Or is DM hiding behind their videos? Let’s admit it, videos are made for teens and twenty-somethings, who get to watch one or two videos a day between reality shows on MTV. Is the image of three Brits pushing fifty the sellable image that they want, or a haunting video that will stay with their audience?
Perhaps I am wrong, and that may make me a bit of a schmuck for dissing Depeche Mode this way. Perhaps the video was filmed this way because of circumstances, but I find it hard to believe. The better question to ask, though, is are these two videos going to garnish the attention and airplay that DM is hoping for? Will these veterans be able to add to their fanbase? Considering that they peaked at #3 on the Billboard 200 album charts, #2 in the UK, and #1 on the World Album charts (not to mention #1 in at least 20 countries, already scoring a platinum albums in Germany and Italy), perhaps they are doing something right. Read more ...
I am not one of these people that believe that the measure of the worth of a band is how long they stay underground. Even though I have decided to really concentrate on bands that are not in the mainstream (that is top 20), the reality is that all musicians want their music to be heard - that is why it is recorded and performed for the public. One of the things I really enjoy the most is when a band, on their own merits and not with the help of a promotional campaign funded by major labels, break through and start to garnish attention. There are moment when this defies the very notion of what is mainstream, like the Cure in 1989, or can even help to redefine music, like Muse's political awareness in 2006. Regardless, here are two bands that deserve to be praised on their own terms - Gossip and the Joy Formindable. Both bands have started to make waves with their music, both bands have started to attract both audiences and critical respect, and both bands have done it on their terms.
Gossip: “Music for Men”
So much is being made about Beth Ditto (vocalist) of Gossip. On one hand, she is being hailed a punk icon, but the latest album, “Music for Men” (released 19 June 2009 in the Netherlands, 22 June 2009 in the UK, 23 June 2009 in the USA), is a major label release. On the other hand, she is being hailed a rising pop icon, despite that she does not fit the stereotype of the role: she is a plus sized lesbian. The reality, however, is that she should be praised, not for a an album that is making waves on album charts all over the world, or all the garrulous attention that the band is getting, but rather for her artistic integrity. From comments about not wanting to play for an audience that does not know the Ramones to taking on topics in music that would ruin other musicians, Ditto and Gossip (which also includes Brace Paine on guitar and bass and Hanna Bille on drums) are proving that musical integrity and conscientious craftsmanship is the key to strong music.
I hear the hardcore fans already… but they are on a major label now; they sold out. To this I say, “Do you expect a band with this much talent to stay underground forever?” The rise of Gossip is on their merit, and not some corporate scheme to sell out and make big bucks (though those bucks may be in store for them). Sure, the album is not as in-your-face as the previous music (I got to see them in 2007 on the True Colors Tour, and even some in that crowd were a bit put off by some of what they had to say – I loved it). But that confrontational, punk rock mentality is here, present as ever. Ditto sings in “Heavy Cross”: “We can play it safe, or play it cool, follow the leader, or make up all the rules. Whatever you want, the choice is yours, so choose…” And if you think Gossip is trying to write a lovely love song for pop credibility, then listen to “2012”: “A tragedy loves misery; misery loves company; company is misleading; I’ve made it this far without you…” Surely this is not the material for a pop ditty.
“Four Letter Word” is an ingeniously childish song: “L is for leaving, O is for on time, V is for the voices warning me I’ll lose my mind, E is for the ending, the unhappy ending of the four letter word.” (And here you thought the four-letter word was “Fuck.”) Musically the album is pretty straightforward, with a few new production gimmicks (Rick Rubin did produce this album). It may not be as edgy as the previous two albums, which is criticized by many, but I am sure if they produced the same sound again these same people would be bitching about that too. “Four Letter Word” (which borders on electropop), “Pop Goes the World” (cowbell and all), and “Vertical Rhythm” (sleek, straightforward rock) are the three most musically interesting tracks on the album; however, there is no filler here.
The most insincere thing a musician can say is that they write and perform music for themselves; if this were true, they would stay at home in their parent’s garage and play all day with their friends. Musicians want their music to be heard; perhaps they may not care whether or not their music charts, but they want the opportunity to have as many people as possible listen to what they have created. No one says, “I am going to record an album, but I only want 100,000 suburbanites to buy the album.” If the music is good, there is always the possibility of becoming big (in the sense of a following) and obtaining longevity. I hope Ditto and the rest of Gossip make no apologies for their major label debut. I hope that they continue to do things the exact way they want to, because what they have produced is a sincere album, that will get you on your feet, dancing or slamming, and enjoying their groovy sound. The rest of the humbugging is just bullshit. Get the album.
Track Listing: 1. Dimestore Diamond 2. Heavy Cross 3. 8th Wonder 4. Love Long Distance 5. Pop Goes the World 6. Vertical Rhythm 7. Men in Love 8. For Keeps 9. 2012 10. Love and Let Love 11. Four Letter Word 12. Spare Me from the Mold
“A Balloon Called Moaning” (19 January 2009) got right by me when I first started the blog. But since I discovered it, it has been on my iPod. I had the pleasure of getting the band to answer a few questions for me (link) and wanted to give you more in way of talking about the actual music. This is an amazing album, on many levels. Both musically and for what the band is trying to accomplish with how it is promoting/distributing their album. What the Joy Formidable understands, because they themselves are fans of music, is that there are many ways to invest in a band: whether selling a CD or a concert ticket or a t-shirt or spreading the word by forcibly making people listen to the album in your car as you are driving fast on the NJ Turnpike, people invest differently in a band.
I have written about the free music debate (link) and this is not meant to continue that debate, but rather to give a point of reference. In a gamble, they offered their music in two formats: a free download on their website and on CD. They found that most people who downloaded the album for free also purchased the CD. Why? Because they gave the chance to fans to listen and invest. And that is the thing about this album: you will want to invest; it is infectious as all hell.
The album opens with “The Greatest Light Is the Greatest Shade” (I do love a good oxymoron). This is one of those songs that is hard to put a finger on. With an oscillating background, a steady beat, and airy vocals, you can label this song just about anything you want – but what you will agree is that it is an incredible, epic scaled, opening for an album. The next two songs are power-packed gems. “Cradle” is a great fuck-you-it’s-over song: “I can see he says what he means; I can’t say what he means when he says that I’ll pretend a pretty pretend, when all I wanna see is the end of this.” Then “Austere,” and anyone who saw this years NME’s Shockwave Award show knows this number. The high-pitched “ah-ah-aha” is background is unforgettable and infectious. The compressed guitars are in your face. Just from the first three tracks you get the idea that the Joy Formidable is not just verse with the current fads in music, but rather have an appreciation of what has been relevant over the past few years: from post-punk to shoegaze, from dream pop to Brit pop.
Also on this album is “Whirring,” which was released in May as a single. This is the kind of song that you itch to see live, because you know that the recorded version may be great but does no justice to it. (Actually, you can say that about all of the songs on the album.) The album closes with “Ostrich,” the darkest song on the album, but it is not overwhelming in an emotional sense, where it is musically. Think whirlpool: this song will musically force you into its world, whether you are resisting it or not. But that is the beauty of this album; at the end of it all, you find yourself completely addicted to the album. So I am going to keep this simple, go to the bands MySpace and decide how you want to invest.
Track Listing: 1. The Greatest Light is the Greatest Shade 2. Cradle 3. Austere 4. While the Flies 5. Whirring 6. 9669 7. The Last Drop 8. Ostrich
